This dashboard is the current repository for the Relative and Absolute Pitch project between Eastman, Peabody, and the University of Amsterdam.

For questions, please contact Dave Baker.

The current ordering reflects the questions as they are asked on the survey.

Definitions of Absolute and Relative Pitch


The first main plot here plots the general agreement and disagreement with each of the definitions of absolute and relative pitch. Answers of “No Response” have been removed.

The answers are ordered in terms of the average response per question. Answers at the top and bottom show the most grouping.

Eventually, the plan for this analysis is to PCA/Factor Analyse this data in order to see if both the AP/RP factors emerge as a dimension as well as the verbs.

Relative Pitch Is…

run_id response
1011 The only thing I might add is that relative pitch is a skill that can be acquired over time and with practice
1079 the ability to identify scale degreessolfege and producesingplay on instrument pitches in relation to a given key or tonality
1061 I would say that relative pitch involves the ability to determine a note or set of notes from a given reference tone or key The determination can be active producing a pitch or passive recognizing or labeling a pitch
1095 the ability to identify the functional tonic of a passage AND to identify the scaledegree functions of other pitches in relation to the tonic
15 dasfdas
1480 Relative pitch can be subdivided into fixed pitch and initial pitchNeither needs any reference sound to name the pitch
1665 No opinion
1616 comparing pitch and faster transposition
1677 an ability can know or produce the interval or the scale level of certain tonality
1678 Not Applicablen
1706 Relative pitch is a selfconstructed system having relative pitch may have the ability to understand music in a deeper level
216 Not applicable
319 Id say that none of the individual definitions offered entirely captures the concept Recognizing intervals say is probably something that someone with decent relative pitch or perfect pitch + some minimal training can do But it doesnt seem right to say that recognizing intervals therefore is relativeperfect pitch And mutatis mutandis for the rest I was also a little unclear on what you meant by a remembered reference tone Do you mean eg after hearing where A 440 is in the mornings first rehearsal then retaining for the rest of the day I used to be able to do that when I was playing a lot morethough I cant anymore Id call that relative pitch Do you mean knowing where A 440 is all the time still a reference tone just one that doesnt need to be refreshed That sounds like perfect pitch to me
360 I had a hard time deciding that absolute and relative pitch were exact opposites
386 a learned ability to perceive relations among pitches
427 the ability to recognize a frequently at least 3 days ie from Friday to Monday performed pitch such as concert Bflat for concert bandos
395 the ability to understand that two melodies or any two bits of music are equivalent not the same when they are transposed Likewise in tonal music it is the ability to identify Roman numerals and scale degrees solfege within a tonal key and to hear and produce through singing given intervals scales and melodies and harmonies within a key Relative pitch enables singing melodies in a key even if the given starting pitch isnt what is written on the page Relative pitch shows the equivalency relationship between two sets of music
44 the ability to identify andor label the intervallic relationship between pitches but not their note names unless given a reference pitch
401 something one can learn with practice
466 Relative pitch is the ability to accurately recognize and produce specific pitches in relation to other relevant pitch structures be they reference tones tonalities etc
486 the application of theoretical constructs about pitch to practiced perceptions of pitch relationships
545 the ability to determine the relationship of a test pitch to a reference pitch via sonic identification
593 perception of pitches through their relationships to one other rather than in terms of an internalized sense of absolute pitch chroma
598 the ability to produce identify and label pitches accurately with reference to some previously known pitch For some this involves a reference pitch such as A440 upon which they can rely as needed while for others this involves hearing a tone for which they have the label and working with that to identify and produce other tones
617 well absolute pitch encompasses everything relative pitch is and more
670 It is the ability to accurately hear produce and label musical sounds in relation to other previously identified musical sounds
824 Relative pitch is the ability to think of two or more tones at once and thus mentally compare their intervallic distance
887 This is an essential question I struggled with so many of these questions because of the need for definition of the descriptors For example what does identify correct produce mean in the context of absolute and relative Sorry as I know many of these terms come from Richard Parncutt and Daniel J Levitin work in this field but I still struggle I think if we get clarity on these descriptors then we can move towards definitionsnnIve not been terribly helpful I know so here is my go at a definitionnnRelative pitch is the musical ability to recognise a pitch or tone as belonging to a tonality and to understand and reproduce the distance between intervallic and harmonic steps without necessarily identifying the exact frequency and its associated note name For example the musician with relative pitch can produce a major second interval without knowing what the first or second note is in reference to a particular key area of tonality nnnnnn
900 Not Applicablen
974 hard to define because it means different things to different people na condition that includes the ability to find the starting note of the next track on a recording because of having heard the recording before
954 ability to hearsing a pitchesshort melodic segments in key when tonality is established they can hear function of the pitch in given key if they are well trained with movable do solfege they identify the pitch with solfege Strong relative pitch allows listeners to hear quality and function of chords but they do better in a context of tonality

These are responses to the question:

Relative pitch is…

Template

run_id response
1061 Absolute pitch includes the ability to determine a note or group of notes without a prior reference point The determination can be active producing a pitch or passive that islabeling or identifying aurally a pitch
1081 Absolute pitch is the ability to identify pitches within 12tone equal temperament based on A=440 without an audible reference tone
112 Not applicable
1095 the ability to give letter names to pitches based on longterm memory Working from memory of a single reference pitch is a weaker form of absolute pitch Being able to produce a pitch on request given its letter name is a stronger form of absolute pitch
15 asdfasdf
1480 Absolute pitch is the ability to name a pitch without external help
1521 very good for player
1665 No opinion
1616 the ability to accurately identify pitch
1677 an ability who can know or produce the pitch of one note interval or chord
1706 People with absolute pitch tends to lack the ability to perceive music has a whole especially in understanding music theory
216 Not applicable
319 Most of what I wrote in the previous field about relative pitch applies here too
386 an innate ability to remember pitches
395 Absolute pitch is the ability to identify the exact pitch level usually in relation to 12 TET of a given pitch Depending on the person it may be identifiable through timbre synesthesia vocal placement or other mental tools Each person who can access absolute pitch does so differently
44 the ability to identify a pitch without any reference pitch given
401 something one is given through exposure at a key period of development and education
466 Absolute pitch is the ability to accurately recognize and produce specific pitches without needing any reference to other pitch structures
489 the ability to produce a pitch without a reference tone or the ability to identify the pitch of a sine wave without a reference tonennWhen I was in college I thought I had absolute pitch because I could instantly identify pitches and chords on the piano and other instruments with whose timbre I was quite familiar When our aural skills professor played something in one key but told us it was in another key I had to mentally transpose to get the right notesnnBut in the late 1980s and early 1990s I participated in two studies at the University of Illinois on absolute pitch and I was told by both researchers that because I was unable to identify tones produced as sine waves I had only very good relative pitch Without the upper partials I couldnt do it I am now in my 60s and I have more trouble identifying exact pitches than I used to often I am a halfstep off and sometimes especially with wind music I have no clue I suspect this is due to highfrequency hearing lossnnI know the ability to produce tones without a reference pitch exists because a member of a choir I directed could do it but I never could I think we need more words to describe the various stages of absolute pitch 1 being able to produce a tone on command 2 identifying a sine tone on command 3 identifying tones from instruments with familiar timbres etc
486 the application of theoretical constructs pitch names frequency designations etc to perceptions of singular pitches
540 Please see my statement regarding relative pitch
545 the ability to identify a pitch categorically without the use of a reference pitch
593 perception of pitches in terms of an internalized sense of pitch chroma such that the chroma of every pitch is clear and distinctive for the perceiver
598 The ability to produce identify and label any tone without any external reference neither provided immediately prior nor some time prior This ability transcends timbral registral and temporal variation
621 nA
670 It is the ability to hear produce and label musical sounds without reference to other previously known musical sounds
824 The ability to recognize or produce a named pitch without mental comparisons thought or hesitation in the way that people who can see colors recognize that a stop sign is red
815 something that you are born with or an ability that is developed when the brain is malleable to do develop itsomewhere up to around age 10 I dont believe you can develop this ability as an adult once the age window is closed Some adults who believe they acquired it as an adult may not realize they already had this skill and think they developed it as an adult I know I banged around a tuning fork as an adult hoping to develop that pitch memoryrecognition skill and wellit never happened
887 So I would therefore reframe this from the first definitionnnAbsolute pitch is the musical ability to recognise a pitch or tone as belonging to a tonality and to understand and reproduce the distance between intervallic and harmonic steps and identify the exact frequency and its associated note name For example the musician with absolute pitch can produce a major second interval and know what frequency and associated note name they are presenting
954 Ability to identify pitches without any reference Those with strong absolute pitch cannot hear the function of the pitch they hear pitch with letter names even tonality is established They cannot hear function of chords in key they need to spell pitches before identifying the chords

Reponse to:

Absolute pitch is…

People With Absolute Pitch


People plot notes.

Time Fostering RP in Classroom


AP RP in Classroom

APRP Priority


Nothing out of the ordinary here.

Fostering Relative Pitch Activities

run_id response
1011 Given a reference note or chord students are asked to identify a given scale degree using a solfege syllable
1011 I write solfege syllables on the board and point to them in a random sequence asking students to sing each scale degree after I point to it
1011 During melodic dictation exercises I ask students to recognize notes as scale degrees and then to interpret those scale degrees as notes on the staff in the given key
1079 Hear a key establishing progression then hear a single chord Students identify the chord using Roman Numerals and bass note
1079 Students see a string of 45 solfege syllables I play a key progression Students are asked to sing the string in whole notes
1079 I play a short melodic string of 46 pitches eg 2 bars in 44 with simple rhythms students sing back the string with solfege
1079 sequentials repeating a short pitch pattern eg lower neighbors on multiple scale degrees
1079 Students sing melody either at sight or prepared along with accompaniment Change keys either up or down and repeat the performance
1061 Singing intervals once given a reference tone
1061 Aural identification of intervals once given a reference point
1061 Identification of scale degrees within a given tonality
1061 Written identification of intervals musical dictation given a reference tone
1061 Written identification music dictation of melodies given a reference tone
1071 I direct a choir and we start each rehearsal by finding an A without a reference pitch I hold up a hand sign and the students audiate then sing
1071 When I teach my music education majors to lead sight singing exercises we practice finding an A as I described in my previous response Then from there the students identify what that A represents in the sightsinging exercise theyre about to start From there they find Do and carry on with the exercise
1071 A choir directed by a colleague uses tuning forks instead of a piano The students constantly are finding their pitches during rehearsal from a tuning fork A
1071
1071
1081 Singing scale degrees over a drone
1081 Taking melodic dictation over a drone
1081 Analyzinglabeling the scale degrees andor intervals of melodiessongs which are very well known to the individual in order to draw upon these specific examples to identify scale degreesintervals in other contexts
1081 Singing with a relative syllable system eg moveable solfege or scale degree numbers
1081 Not identifying the key or name of a reference pitch when giving melodicharmonic dictation Instead labeling a reference pitch by scale degree or giving no label at all
112 Guided singing with solfege and hand signs
112 Melodic dictation using solfege only or played at a different pitch level than what is written
112 Harmonic dictation using only solfege and roman numeral chords or played in another key than what is written
112 Routine integration of moveable do solfege and scale degrees in classroom activities
112
1095 I teach them my own system of handbody symbols NOT Kodaly which ladder up and down the body when standing to reflect a diatonic scale as well as moving out and back from the vertical center line to reflect tonictriad and other scaledegree functions I establish the tonic and then play invented melodies while they identify the scale degrees by where they place their hands
1095 I teach the students moveabledo solfege with dominor including chromatic inflections when they reach that level I establish the tonic and they sing melodies in solfege
1095 I teach harmony according to the three fundamental Reimann functions tonic dominant and predominant I invented dance steps to reflect the nature of each function I establish a key and then improvise chord progressions while they identify Reimann functions by their movements
1095 Cant think of a fifth one
1129 Given a tonal framework identify scale degrees
1129 Sight singing with solfege
1129 Dictationtranscription of a melody using solfege
1129 improvisation within a tonalharmonic framework
1129 interval identificationlabeling
1207 Play a pitch name an interval and a direction and ask the students to sing the second pitch
1207 Provide the students a choral score Have one group sing a given part up until the entrance of a second part that does not begin on the same pitch as the first group ends on Have a second group of students enter without aid to a piano or other instrument
1139 Interval clinic an audio file playing the bass while the screen shows scale degrees such as 42 over the bass and the students are asked to sing back the scale degrees
1139 transposing a hymn at the keyboard
1139
1139
1139
1194 Singing in movabledo solfege with handsigns I give students a pitch as tonic and have them sing following my handsigns
1194 Dictation activities I give the students starting notes key signature and they have to complete the dictation I encourage them to first write the rhythm and then to listen for the notes in solfege syllables before transferring onto the staff
1194 sight singing melodies using movable do solfege
1194 contextual listening I play a recording or something at the piano and ask students to identify some musical feature like a chord function or cadence or some other feature that will require them to audiate tonic and something in relationship to that tonic
1194 chord ID playing triads and sevenths as blocked chords and asking students to identify the qualities
1307 Playing a melody and having students sing it back on MovableDo solfege or write down the solfege without telling them the key
1307 Playing a chord progression and having students identify the Roman numerals or phrase structure labels T PD D without telling them the key
1307
1307
1307
1446 I would like to let my students imitate a melody with 4 measures notifying the pitch of the first note and allowing them to sing every pitch exactly according to the relationship between each note
1446
1446
1446
1446
1501 No contrast A440 reaction relationship of Interval
1501
1501
1501
1501
15 asdfasdf
15 asdfa
15
15
15
1480 Use monosyllables such as lato imitate singingrather than necessarily adopting fixed or scale singing
1480 Use a musical scale to play first and then sing
1480 Use your inner sense of hearing to build your sound and then sing it
1480 Use familiar tones to help you remember pitch relationships
1480 Transposing practice
1521 sing and listen interval
1521
1521 listen every note
1521
1521
1588 According to the specified note sing IntervalnAccording to the specified modal levelthe scale is sung nUse fixeddo system sightsinging and transpose
1588
1588
1588
1588
1665 No opinion
1665 No opinion
1665 No opinion
1665 No opinion
1665 No opinion
1616 train according to the students situation if they have relative pitchI will train them perfect pitch
1616 melodic and harmonic hearing requires relative pitch
1616 I will let student do transposition practice
1616 hearing the colorful harmonic colorfulfunctional
1616 dont use singing name and letter name to sightsinging
1677 the solfeggio and fabric singing of interval and sight singing of melody
1677 singing of different tonality scale
1677 eartraining of the quality of interval and chord
1677 Accompanied by solfeggio
1677 successive chord function mark by given standard pitch
1675 interval
1675
1675
1675
1675
1707 Transfer the melody
1707 Use the piano to play the melody of transposition
1707
1707
1678 scale practice
1678 interval practice
1678 Chord practicen
1678 recite the melody
1678 transpose melodies
1729 A440 or A442 is verry impotent
1729
1729
1729 fench 1A 1B 2A 2B
1729
1727 Not Applicable
1727 Not Applicable
1727 Not Applicable
1727
1727
1706 Based on a reference note to ask the students to hum to sing an internal or chord up or down
1706 Transposition on melodies and harmonies
1706
1706
1706
173 Identifying interval size aurally
173 Sightsinging
173 Singing solfege syllables from hand signs
173 Identifying cadence types by ear
173 Listening to chord progressions and singing back bass lines
216 sight singing in scale degree numbersmoveable do solfege
216 Having students write down melodic dictations in different keys from those in which theyre performed
216 Identifying intervals in scalekey contexts
216 establishing a key and having students audiate and sing familiar melodies using scale degree numbers or movable do solfege
216 Having students notate a familiar melody without recourse to a musical instrument or other external identifier of pitch
226 Listening to a series of arhythmic melodic passages to identify the scale degrees used
226
226
226
226
285 Singbacks Play a brief tonal pitch pattern have the students sing it back on neutral syllables play it again have them sing it back using moveable do
285 Sightsinging using moveable do
285 Harmonic dictation students listen to a passage sing back the bass line on neutral syllables then write the bass using moveable do and add figures keeping in mind whether a bass notes chord sounded like it followed the expected Rule of the Octave or whether it sounded different
285 Melodic dictationtranscription students remember portions of a melody then provide moveable do syllables before notating it given the do
285 Melodic improvisation using sung moveable do syllables
295 A common warmup I use is ascending chromatically from a note using interval numbers students sing 01 02 03 04 etc all the way to 012 then back down
295 I often do sightsinging activities in multiple keys while looking at a single score excerpt Sometimes this is for clef practice but more often it is so students are hearing intervals instead of single pitches
295 Dictating in keys other than the music that is sounding I personally do not use this activity because I find that AP students will simply transcribe it in the sounding key and transpose while many mostlyRP students will still struggle to notate it in the written key So I find it to be more trouble than its worth
303 After a key is established by the instructor student is required to recognize or produce various scale degrees in that key
303 Singing with fixeddo solfege over a long period
303 Identifying scale degrees emphasized in played melodies
303
303
288 Students read from traditional European musical notation at sight as a group
288 Students read from traditional European musical notation at sight individually
288 I sing short melodic fragments on a neutral syllable and students repeat them using scale syllables
288 I play music and students transcribe what they hear
291 Melodic dictation by ear
291 Transposing melodies at sight while singing
291 Transcription of melodies and chord progressions
291
291
319 Again I dont teach eartraining directly I never really had trouble hearing or producing intervals though again Ive gotten worse at this as I spend less of my time engaged in practical musicmaking so I never quite got the point of having students associate an interval with a particular melody they knew eg tritone = The Simpsons But they do this over in aural skills and whatever theyre doing clearly worksbecause when I ask my freshmen to sight sing a chorale in their first term they fall apart But my sophomores can do it
319 Im running out of activities hereI guess this either suggests that I dont care that much about fostering relative pitch though I suppose I should or that I dont really see it as my job or at least as my principal job Probably the latter since again we have a very sharp divide between our aural and written theory sequence
319
319 Ok one more Improvised counterpoint is really great practice for this now that I think of it If you can spontaneously recognize intervals and reproduce them accurately from a different starting pitch eg in a canon a fifth above or below thats surely a sign of pretty good relative pitch or absolute pitch When I was doing a lot of this some years ago my intervals got a lot better againnnAlso maybe this could be 4 sightsinging medieval and renaissance music from old notations is good practice if like me you dont read those notations very well and so need to rely on reading intervals and listening to the parts around you
32 Dictations harmonic and melodicnGiven the starting note or tonic triad students must use interval skillsrelative pitch ability to figure out the melodicbass line as well as listening to chordal quality during harmonic dictations
32 Sight singing giving students the tonic triad and having them sightsing a melody
32 Intervals using different songspieces that will help students identify different intervals Major 6 minor 3 etc
32 NA
32 NA
313
313
366 Sightsinging tonal melodies using solmization
366 Dictation of tonal melodies
366 Dictation of tonal harmonies using Roman numerals
366 Discrete interval identification
366 Keyboardaided transcription of popular song melodies
360 Singing scale degrees given a tonic
360 Finding the leading tone with your voice given the dominant
360 Given the tonic finding a major third above it
360 Finding a minor third above the tonic with your voice
360 Finding the leading tone below the tonic given the tonic with your voice
371 singing with moveable do solfeggi
371 melodic dictation asking students to sing back with moveable do solfeggi
371 establish a key on the piano and ask students to sing a particular scale degree including chromatic scale degrees
371 improvising pitch patterns over a chord progression using moveable do solfege
386 distinguishing among basic types of tetrachords in varied combinations voicings and transpositions
386 Identify whether the consequent of a period phrase modulates
386 singing arpeggiations of intervals or trichords given by label
386 NA
386 NA
427 Asking students to sing a Bflat
427 The instructor plays a Bflat on the piano and students should write down on a piece of paper the name of the pitch
427 Ask a student to perform a concert Bflat on an instrument and ask students to write down the name of the pitch on a piece of paper
427 Play a pitch on the piano and ask students to identify the octave using C4 as middle C for example
427 Instructor plays a chord and the students should write down the name of the chord eg C major
395 For dictation skills I will play a melody in a key but have the students notate it in a different key therefore at a different pitch level
395 I give the students intervals or interval chains to identify based only on the interval not on the actual pitches produced
395 I create harmonic progressions for dictation in the skills classroom Instead of having them notate it on a staff I have them notate the scale degrees solfege of the outer voices along with the Roman numerals of the progression
395 In the posttonal skills classroom I use melodies from Modus Novus to teach listening for intervals and notating nontonal melodies I will have them notate the melody in a different key than I play and listen for interval from pitch to pitch with a set number of intervals at play in a melody
395 In the posttonal classroom I teach hearing harmonic trichords which is entirely based on relative pitch as I have them give their prime forms with no relation to the actual pitches played
44 Play a reference pitch and tell students its name Then play various pitches and ask students to name them Students should be able to identify note names based on the interval between the reference and the pitch in question
44 Have students sight sing a melody in a key other than the one it is notated For example if a melody is in Eb major have them also read it in F major G major etc
44 Have students practicerecite moveabledo solfege syllable exercises
44 Play and ask students to identify the qualities of intervals triads and seventh chords but not the note on which they are based
44 Play a reference pitch on the piano and tell students its note name Then give another note name and have students produce this pitch
401 teacher provides a melody sung live instrumental or recording and asks students to use protonotation to dictate to solfegepitch numbers nTeacher can ask students to dictate rhythm using dashes of relative lengths or not If using syllables students may prefer to use just first letter of solfege
401 Teacher provides a melody and asks students to sing back starting on a different starting note That note may be provided by the teacher or chosen by the student
401 Teacher provides protonotation or solfege syllables and prompts students to produce the indicated melody either using a given or chosen starting pitch I often use this as a point and sing where I point at the solfege and the class sings together on solfege using a given starting notennAlso just thought of another activity that I use a LOT and is perhaps the most successful thing I do to develop relative pitch singing into the key Karpinskistyle This helps students be so much more successful in their sight reading and prepared singingnnMy rating is for the first exercise I described here
466 Dictation and sightsinging activities using entirely functional systems SDs or solfège
466
466
466
466
453 Singing a rote melody without notation on solfege in multiple keys back to back
453
453
453
453
489 Have students pick out modulations when listening to a movement in sonataallegro form
489 Have students sing domisolmidotido then sing a phrase at sight
489
489
489
486 Call and response the call is performed without labels the response is sung on solfege
486 Have the students practice singing a tonal melody on solfege
486 Students improvise singing on solfege syllables
486 Melodic dictation using protonotation to indicate pitch relationships either scale degrees or solfege syllables
486 Harmonic dictations focusing on tonal functions and relative bass lines
511 I ask students outside of class to learn to sing melodies from notation on solfege
511 We have students improvise along to simple chord progressions asking them to emphasize chord tones
511 Melodic dictation without a keydefining progression or starting note given
511
502 Singing specific intervals rather than relying on solfege
502 Producing harmonic progressions either by singingplaying arpeggios or playing on harmonic instruments
502 Identifying the interval between two notes
540 Giving a pitch then an interval and interval direction in solfege such as misol ascending and asking a student to sing the correct interval
540 Playing an interval then asking a student to identify it
540 Giving a student a pitch then stating a series of intervals and directions for instance M3 up P4 down m2 down M6 up then asking the student to sing the final pitch
540 I play and name a starting pitch then play a short series of ascending and descending intervals having the students identify not only each interval and its direction but also the ending pitch
540 Providing the starting pitch I ask a pair of students to sightsing a Lassus bicinia
545 Playing a melodic dictation exercise with a given reference tonic
545 Students identify the chordal 3rd and 5th of a chord by sound
545 NA
545
545
593 Sight singing using movabledo solfège syllables
593 Singing pitches from CurwenKodaly hand signs given by the instructor
593 Identifying the movabledo solfège syllable of one or more pitches in a melody played on piano or in an excerpt from a recording
593 Identifying the Roman numerals of one or more chords either arpeggiated in a melody or in a progression of block chords
593 Singing guidetone lines along with a recording using movabledo solfège syllables
598 I dont know if this qualifies but developing an intervalsong chart ie a reference in which each interval smaller than an octave is learnedremembered with the opening few notes of a song that use it
598 NA
598 NA
598 NA
598 NA
556 Singing pentascales major and minor while playing them at the piano both hands in octaves The pattern is learned while singing solfege Once the pattern is memorized labels switch to letter names
556 Harmonic singing sing chord arpeggios beginning with the guide tone ascending through the arpeggio and descending to return to the guide tone
556 Singing on any label system ascending descending thirds in both major and minor keys ascending descending 4ths 5ths
556 Sing intervals on any label system ascending from tonic to each scale degree in the pentascale dore major second domi major third etc and also descending from the dominant sofa major second somi minor third etc
556
617 Telling the difference between for example an A and a Bb just by sheer rote repetition
617 Having a solfège chart on the board and pointing to various syllables as they sing them
617 Give a reference pitch then ask students to sing a specific interval abovebelow it
617 Play a melodic interval and have students tell the interval
617 Present a melody in a key transpose it by a certain interval then have the students sing the transposed version
621 na
621 na
621 na
621
621
670 I have my students sing and hear all tonal structures as scale degrees around an implied or given tonal center For example minor thirds are MiSol scale degrees 35 in a major key Minor seventh chords are ReFaLaDo 2461 in a major key
670 My students sing melodies as combinations of scale degrees All pitches are heard as scale degrees in a given or implied key
670 My students learn idiomatic scale degree patterns for each scale degree
670 My students learn to modulate by relabeling a pitch as a scale degree in the new key
670 My students sing all of the scales modes and chords starting from the same pitch in quick succession paying particular attention to the shifting of the tonal centers and pitch function as they do so
747 identifying heard intervals with one or two playingsn
747 melodic dictation
747
747
747
824 Starting with a given pitch think of it as scale degree 1 and sing up the scale from it 12 13 14 15 16 17 1upper1 Then sing down the scale upper17 16 15 14 13 12 1lower1
824 Imagine a familiar melody sing it then apply scale degrees to the notes while singing
824 Sing the chord progression I ii6 V I using arpeggiations upward and back down from the bass note of the Roman numeral and figure in close position without adding any upper octaves
824 Sing back a short melody performed on the piano using scale degrees
824
815 Playing a short melodic fragment and asking the students to say what was played using moveable solfege syllables
815 Writing solfege syllables on the board and pointing to the syllables on the board with the expectation students will sing the correct notes relationships against an established tonic
815 singing successive various kinds of scales in a row starting on different given tonic pitches
815 Having students sight sing a melody in a different key than is written
815 teaching harmonic cliche progressions eg IIVVI or IviIVVI or cadential 65 V I and not telling them what key I am in having students tell me what I play based on Roman numerals rather than notes on a staff
695 When practicing an assigned melody I have students sing the melody on la on scale degree numbers and on solfege I then provide them a new key and tonic and we sing the melody again in the new key on la on the same scale degrees and on the same movabledo solfege
695 In dictation of melodies I allow students to write out their answers in a key of their choosing
695 For interval practice I specify an interval eg P4 then play at the piano a starting pitch then ask students to sing the P4 above the given pitch I then move to another starting pitch and students sing the P4 above the new pitch And so on
769 Dictation in the style of Dr Karpinskis textbook
769 Singing arpeggiated triads within major and minor keys tonic dominant etc
769 Sight singing and practice singing in solfege Only the first pitch is given in advance
769 error detection
769 Singing whole and half steps singing major and minor third
841 Posttonal playing a trichord and asking students to identify the constituent interval classes
841 tonal playing a IVI and asking students to sing a scale degree
841 dictation exercises from Modus Novus given a starting pitch and no key center students identify intervals
841 singing scale degree patterns on scale degree numbers
841 playing a posttonal pattern at a piano and asking students to sing it back on interval numbers
887 Shameless plugnnnRethinking the Guidonian Hand for twentyfirst century Musicians in the Journal of Popular Music Education 2017nn The immediate recognition and description of the thirteen enharmonic intervals within an octave is a quest upon which students on popular music degree programmes frequently embark but which they rarely complete The problem often lies in a disconnect between the sound heard and the sound recognized when the task is undertaken without recourse to an instrument During the eleventh century Guido dArezzo used the joints on the hand phalanges to help music students recognize and sing intervals from hexachords This article considers rethinking this tool with regard to recent investigations into corporeal intentionality The approach is developed across three short incremental exercises that are designed for the twentyfirst century musician It begins by connecting the familiar singing of a major scale whilst pointing to the phalanges of the hand moving towards inflecting the scale by singing and pointing to nonsequential intervalsnn nGILES First Exercise httpswwwyoutubecomwatchv=Xyq6sLkj10 nnGILES Second Exercise httpswwwyoutubecomwatchv=77VBWP9zWKk nnGILES Third Exercise httpswwwyoutubecomwatchv=WMIOO5bE7Cw
887 A beginners introduction to Moveable Do with hand symbols
887 Gotta be honest these are the two that I used the most
887 Erm as before
887 na
830 Do a melodic dictation where I tell the students the melody is in eg Eflat Maj and then in eg Amajor give the tonal context either I or a IIVVI progression and play the melody with however many hearings I said Not saying anything about the key until MAYBE after the exercise is over
830 Rather than point to written solfege on the board give a starting do and go updown doing hand signals a la a medieval choirmaster where going up or down a T involves raisinglowering my hand whereas for a ST not only change the hand heightLESS than for a Tbut also flip the palm 180 Thus visual cue for the change in interval size as well as visual indication of pitchheight change
830 Play tagyoure it give a starting Do tell someone Sing dorefami then pick someone else and tell them sing the same or give some other short pattern where the last pitch stopped on is now the new Do
900 I teach six year olds I use the Orff Kodaly method starting from the basic soh Me Sing and Play Children are asked to sing and play the sohme interval through imitation As the term progresses children are asked to create and improvise using just these 2 sounds Lah is subsequently introduced followed by ray and doh The pentatonic solfege is an excellent way for me to make my pupils internalise different sounds
900 With students in H E taking partwriting and voice leading I like to choose popular music and ask them to find chord progressions and modulations
900 Singing SATB especially in Part writing and voice leadingListening to each other especially when learning chromatic harmony
900 Intervals I teach 1 interval every weekmy students need 1 week to assimilate and internalise the interval upwards and downwards of each intervalit is a cumulative process which need reinforcement every week
900 Melodic dictation this is the most difficult for my students I help out by providing the first note of each bar pinpointing to particular sounds for example the tritone the octave etc
896 When sight reading melodies we will move from one exercise to the next without reference to the piano using the previous tonic to find the next
896 I use Curwen hand signs From any starting pitch I improvise melodic shapes and expect the students to sing the correct pitch These are often disjunct and require a connection to the original tonic not just the previous pitch
896
896
974 When Im teaching students to hear modulation to the dominant I ask them to practice singing a pitch pattern that establishes the tonic key and then moves to establish the dominant key I encourage them to improvise these pitch patterns and to vary them After modulating to the dominant I ask them to go back to the original tonic So Im trying to cultivate a sense of pitch memory which I think is a strong component of relative pitch
974 Rifkin and Stöcker came up with a set of Scale Degree Resolution Patterns I teach this and then use it for practice identifying scale degrees in a diatonic setting
974 I use the Scale Degree Resolution patterns to help students find their ways into a variety of keys Heres how and Im sure that Stoecker and Rifkin suggested this after students are accomplished in identifying SDs scale degrees from the same key one can have them take a pitch and sing the resolution pattern for any scale degree For instance give them a D and ask them to sing the MIREDO pattern or the LATIDO pattern or any other scale degree So students become more adept at treating a note as any kind of diatonic member of a scale
974 A preliminary exercise I use for teaching how to hear chromatic mediants is to have students sing major triads and then minor triads down from the soprano note with the same soprano pitch serving alternately as root 3rd or 5th So students sing DOSOLMISOLDO for example CGEGC then MIDOSOLDOMI CAbEbAbC then SOLMIDOMISOL CAFAC
974 I prepare students to hear modulations via enharmonically reinterpreted o7 chords by practicing hearing viio7 resolutions from all inversions viio7I viio65 I or I6 viio43I6 and viio42 to I64 When theyre confident of that they can then hear a o7 chord used as one inversion and then the same o7 chord resolve in a different keyimplying a different inversion They can track the bass and determine the key
989 Teacher provides a tonic and students sing the scale Teacher shows solfege hand signs and students sing the appropriate pitches
989 Teacher provides a tonic students sing the scale Teacher calls out chords for students to arpeggiate on solfege
989 Melodic dictation exercises
989 Improvisation exercises students play chords on piano or guitar and improvise a melody over the progression on solfege First time only chord tones second time with embellishing tones added
989 Sight singing melodies For students with perfect pitch transpose the exercise to a different key so they have to think functionally
954 Emphasis of using movable do in singing melodies and harmonic progressions Listen and sing back play short segment of melodies ask them to memorize and sing back without solfege first once they memorize ask them to sing tonic then sing back with movable do solfege Use same harmonic progressions for singing and dictation
954 Emphasis on using movable do identifying chord quality and function in key
954 Ive written my responses in previous boxes
954
954
922 Sight Singing on solfege for a melody notated in one key that needs to be sung in another
922
922
922
922

TODO: Join on Difficulty Level for Single Activities TODO: Check Import Code, some answers lost because csv import error!

Fostering Absolute Pitch Activities

run_id response
1011 I play a melody at the piano without telling students what key it is in They are asked to notate it in the correct key
1011 I play a harmonic progression on the piano without telling students what key it is in Students are asked to notate the outer voices in the correct key
1011 Using specialized software I alter a recording of a wellknown piece transposing it up by some interval I play that transposed version for students asking them to identify the interval of transposition based solely on the difference between the notated key and the heard recording
1011 original melodies melodies found in published public domain pieces original harmonic progressions in SATB style Bach chorales original rhythms Classicalera piano sonatas etc
1079 Students go around in a circle with each student singing one note from a melody that is written in multiple moveable clefs one clef per note
1079
1079
1079
1079 poprock music some folk classical ie galant romantic baroque including some Bach chorales early jazz
1061 No answer
1061 No answer
1061 No answer
1061 No answer
1061 SingingFixeddo solfege using graded materials Folk songs Bach chorales Singing of intervals Take a musical example with a melody and a bass line sing one part and play the other Dictation in one and two parts Chordal dictation using chord progressions and chorales
1071
1071
1071
1071
1071 I dont currently teach aural skills I teach a Fundamentals class
1081 Playing call and response with instruments In other words the instructor sings or plays something on an instrument and the students play it back by ear using their preferred musical instrument but not by singing
1081 Singing very wellknown pop songs from memory The songs should be very wellknown from a specific recordingartist
1081 Singing melodies using fixed pitch names eg note names like CF etc or fixed Do syllables
1081 Identifying the name of reference pitch or key when giving melodic dictation
1081 world music folk songs choralestyle melodies precomposed original melodies melodies in different tuning systems
112 Using no reference pitch conduct a quiz where you play a series of pitches electronically generated Ask students to name each note and whether it was sharp or flat from an equal tempered note at A440 Ask them to identify how many cents sharp or flat it is
112
112
112
1095 Students sing melodies on letter names or fixeddo solfege
1095 NR
1095 NR
1095 NR
1095 Folk songsnWestern art music
1129 Identify a tone by note name
1129 Sight sing on note names
1129 Dictation emphasizing note identification rather than function
1129 Practice producing a specific reference pitch eg A440
1129 folk songs popular songs chorales excerpts from commonpractice period repertoire
1207 I have never thought about absolute pitch pedagogy and do not have anything to offer
1207 I have never thought about absolute pitch pedagogy and do not have anything to offer
1207 I have never thought about absolute pitch pedagogy and do not have anything to offer
1207 I have never thought about absolute pitch pedagogy and do not have anything to offer
1207 Most of the repertoire of the current curriculum is drawn from Karpinskis Anthology Some popular music is added
1139
1139
1139
1139
1139 Bach choralesnRenaissance choral worksnBach fuguesnBeethoven sonatasnClassical symphonies such as Mozart Haydn etcnSchubert songs
1194 na
1194 na
1194 na
1194 na
1194 canonic and noncanonic pieces by women persons of color etc baroque classical and romantic music and equally lots of popular musics pop rock jazz standards broadway folk americana country RB especially post 1980 hits
1307
1307
1307
1307
1307 Hymn tunes chorales string quartets symphonies slow movements of pieces solo etudes folk songs popular songs electronic dance music with strong bass lines
1446
1446
1446
1446
1446 Chinese folk songs with pentatonic scalesnThe textbooks of Solfege from China Conservatory of Music Shanghai Conservatory of Music Central Conservatory of MusicnSolfege des solfegesnpolyphony of Игорь Владимирович Способинnn
1501
1501
1501
1501
1501 France SolfeggioSposobin
15 asdfasdf
15
15
15
15 asdfasdf
1480 Transposing practice
1480
1480
1480
1480 Classicalpopjazzfolk
1521
1521 listen every note
1521 listen and sing
1521 listen
1521 classic
1588
1588
1588
1588
1588 中国音乐学院视唱练耳分级教程 中国五声调式民歌与经典旋律
1665
1665
1665
1665
1665 folk songs Bach chorales
1616 sing the chromatic scale start from any pitch
1616 practice the pitch of only one particular range at one time
1616 sing different key scales without A
1616
1616 folk songs classical songjazzpopular song
1677 Repeated listening training in groups of several tones
1677 Interval model singing
1677 Listen and distinguish of interval
1677 Listen and distinguish of chord
1677 Chinese folk songs Yao nationality Dance music
1675
1675
1675
1675
1675 folk songsclassical choralesjazz
1707 Singing a Solfeggio with a fixed roll
1707 Dictation practice of melody
1707
1707
1707 Vocal music String Quartet childrens songs folk songs
1678 none
1678 none
1678 none
1678 none
1678 folk songschoralesBachMozartBruckner etcclassical music worksjazz
1729
1729 NR
1729 nr n n n n n n n n n
1729 nr nnnnnnnnn
1729 Bach chorales
1727 Not Applicable
1727
1727
1727
1727 mozart
1706
1706
1706
1706
1706 Mozart requiumnMessiaen quartet for the end of timenWestern Art Song
173 Using fixed do
173 Dictation exercises
173 Playing random pitches and asking students to remember them
173 Listening to how different notes resonante differently to help identify absolute pitches
173 Folk songs Bach chorales standard repertoire from the Western classical canon
216
216
216
216
216 folk songs popular songs Bach chorales composed chord progressions melodic excerpts from a broad range of repertoire
226
226
226
226
226 Use a mixture of melodies and harmonic progressions from various styles of music
285
285
285
285
295
295
295
295
295 LOTS of art song especially 19thc German some jazz tunes a lot of Renaissance through 19thc choral music and a smattering of gospel tunes for hearingsinging harmony in backing vocals
303
303
303
303
303 Any and all repertoire that uses pitched material
288 NA
288 NA
288 NA
288 NA
291
291
291
291
291 popular music
319
319
319
319
319 I dont teach aural skills
32 NA
32 NA
32 NA
32 NA
32 Lots of different repertoire from Gregorian chant for work on modes to jazz and 20th century material like Bartok
313
313
313
313
313 There is no type of repertoire that I dont use I have used traditional music from all over the world I use South and North Indian classical music I use classical repertoire all genres I use jazz I use popular music I use Broadway I have used some North American indigenous music but with care that I am not usingsharing sacred or other music that the communities in question are not open to sharing I dont use all of these in every semester but over the course of a year my students have met at least one example in most of these categories
366 Prolonged listening to specific pitches
366 Intensive vocal training with an emphasis on identifying pitches based on personal vocal range
366 Repeated listening and singing along to popular music recordings in identified keys
366 Deliberate induction of tinnitus
366 anthology repertoire specifically Ottman sightsinging textnpopular music from several genresncustomized and improvised melodies rhythms and chord progressions
360 Finding the A corresponding with the violin string with your voice
360 Not applicable
360 Singing the opening pitch of a song you know
360 Singing the pitch that an oboe uses to tune the orchestra
360 Bach chorales Schubert Lieder Negro spirituals folk songs
371 playing a pitch then asking students to sing it back after hearing an intervening melody in which that pitch doesnt appear
371 asking students to sing the last pitch they heard before they arrived at class
371 teaching by using fixeddo solfege
371 asking students to sing with letter note names
371 classical music pop music my own madeup melodies
386 na
386 na
386 In the distant past I experimented using David Burges pedagogy
386 na
386 Melodia Modus Novus SATB texture Bach Franc Stravinsky Webern
427 Ask students to individually sing a given pitch eg A 440
427 Play A 430 and ask students to comment on the pitch to see if they notice that its off
427 Play A 430 and ask students to write down if the pitch is either A430 or A440
427 Ask students to listen to piece of music by Haydn like a symphony or Mozart like a piano concerto and to create a synethsesia like D major equals royalty and purple
427 Whatever is in the book so folk songs and Bach chorales
395 I have recognized my own ability to listen for and hear absolute pitch on my own instrument in recordings in live performance etc albeit underdeveloped I have encouraged my students to do the same for their instruments
395 I could imagine playing a melody or singing a melody and having the students figure out at least a key range by placing it in their own voices This would foster absolute pitch based on vocal placement
395 I could imagine playing pieces for the students and having them remember through listening the starting key The pitch memory of the beginning of the work may foster absolute pitch
395 Im out of ideas
395 Chorales Mozart Beethoven Haydn Pop songs Broadway songs Gospel the students bring their own examples sometimes
44 Sightsing a melody using fixed do solfege syllables
44 Play an excerpt of music and ask students to identify its key
44 Have students sing a tone row atonal melody or other sequence of pitches without tonal references
44 Play a complex polychordcluster chord Ask students to identify the pitches present
401 Teacher asks students to imagine listening through a very well known recording in silence Students may choose anything they know well Teacher asks how detailed the audio image was including pitch instrumentation tempo lyrics if applicable etc Was everything equally detailed How sure are they that they heard it at pitch
401 Teacher asks students to produce notes by name using their voice
401 Teacher asks students to imagine playing a specific note on their instrumentthe piano and then hum that note
401 Teacher asks students to name pitch of sounding notes in various timbres piano string insts voice multiinstrument recordings etc
401 music from Karpinski anthology improvisation popular music current top 10 and from the past 50 years folk music
466
466
466
466
466 Folk songs lieder mélodie art song music theater popular songs jazz standards from lead sheets classical repertoire solo orchestral chamber Bach chorales
453
453
453
453
489
489
489
489
489 I have never taught aural skills just firstyear written theory
486 Singing A without a reference tone
486 Associating colors with pitches
486 Pitch memory exercises where the students need to remember longer and longer sequences presented aurally and performed back on pitch names
486 Clef reading or transposedpart reading from scores while playing other parts on the piano
486 Europeanoriginating art and folk music afrodiasporic music jazz blues rock rap hiphop bluegrass etc Karnatic ragas Peking opera patterns
511
511
511
511
502 Identifyingproducing a specific pitch without a reference
502
502
502
502 Folk songs elementary music education repertoire bespoke compositions in references OttmanRogers
540 I play a series of single pitches on the piano asking students to identify each one but between each pitch ID I play several cluster or other atonal chords in order to erase their pitch memory
540 I play a chord of at least three pitches and ask students to identify all the pitches present
540 I name then ask a student to sing a particular note without giving a reference pitch
540 I play an unfamiliar tonal piece or excerpt for students and ask them to identify the key it is in
540 Mostly I use selections from Cengages Music for SightSinging and Music for EarTraining
545
545
545
545
545 Bach chorales simplifications of chorales melodic fragments melodic singing
593
593
593
593
593 Notated and recorded conventionally tonal Western art music from the eighteenth nineteenth and twentieth centuries excerpts from recordings of tonal Western popular music from the twentieth and twentyfirst centuries a small number of excerpts from nonWestern folk and art musics
598 Im of the firm belief absolute pitch cannot be taught
598 Im of the firm belief absolute pitch cannot be taught
598 Im of the firm belief absolute pitch cannot be taught
598 Im of the firm belief absolute pitch cannot be taught
598 Ive never been in a position of sufficient seniority when teaching aural skills classes to choose my own repertoire
556
556
556
556
556 Country Western filmTV music especially short excerpts 2voice Bach chorales BWV 439507 classical
617 Get students to associate colors with certain keys
617 Tell a student to produce say a Bb out of thin air and then play the pitch on the piano adjusting to match the pitch as necessary
617 Upon hearing a pitch class in several different octaves separately identify the specific octave a given pitch is in
617 Melodies from common practice symphonies folk songs things like Happy Birthday etc
621
621
621
621
621 Bach chorales and more
670 I ask students to guess what key dictation exercises are played in
670 Given notated music and a recording of it my students are required to identify whether a composition is being played in the key in which it is written
670 I have no more Absolute Pitch development activities that I regularly use
670 I have no more Absolute Pitch development activities that I regularly use
670 Examples used in the ClelandDobreaGrindahl aural skills text
747
747
747
747
747 Mostly original melodies and harmonic examples occasionally based on smallc classical melodies explored later in the class period
824
824
824
824
824 OttmanRogers Haydn divertimenti Renaissance bicinia and motets chorales Bach inventions counterpoint examples from Salzer Schachters Counterpoint in Composition
815 playing an unfamiliar piece of music and asking students what key it is in
815 asking students to sing and sustain a requested pitch without hearing any reference as I play chaotically changing tones at the same timenFYIthis was used on me as a student and I never was able to do this on my own
815 asking students to sight sing a particular melody in a particular key while I play this melody in another ket that is discordant to it a major 7th away
815 asking students to do a dictation without giving a reference pitch or starting note or any other information and expecting the answer in the correct key it was played in
815 all of the above I use an Anthology that mixes many different source materials
695
695
695
695
695 tonal classical melodies folk songs pop tunesnmodal melodies and scalesnsymmetrical scalesn
769
769
769
769
769 Folk songs Bach chorales Tunes in Dr Karpinskis Anthology of Sight Singing
841 singing melodies on fixeddo
841 dictation exercises where the same note is often returned to
841 na
841 na
841 Im a TA and my instructors mostly decide for mennbutnntonal OttmanRogers and 18thcentury string quartetsnposttonal Modus Novus and lieder by Berg and Webern or sometimes Mamlok etc
887 na
887 na
887 na
887 na
887 From all musics it is important that the music used are from outside as well as within Western European Art Musics further musics should be selected that the group being taught identify with
830 NA
830 NA
830 NA
830 NA
900 Playing on Orff instruments notes from the pentatonic scale which i would have played
900 Singing of the same tune in different keys especially in elementary schools
900 Listening to playing of the same note on different instruments timbre
900 Students in higher education I play popular music and ask my students to try to identify the key
900 popular music movie themes western classical repertoire
896
896
896
896
896 Wide variety of melodies mostly from SS textbooks
974 This wouldnt be an aural skills classroom activity but I spent several summers at a multiweek music festival participating in many orchestras I began to remember the sound of A before the oboe sounded it
974 I dont have any more suggestions I dont try to foster absolute pitch in my classes
974 I dont have any more suggestions I dont try to foster absolute pitch in my classes
974 I dont have any more suggestions I dont try to foster absolute pitch in my classes
974 pop tunes classical rep Mozart Beethoven Schubert and constructed examples
989 Singing on fixeddo solfege
989 Students are asked to name random pitches played on piano or another instrument
989 Atonal dictation and sight singing
989 I cant think of another one honestly I do not try and teach anyone perfect pitch I think its more useful for all students to develop relative pitch Students with perfect pitch often hear music more pointilistically so they need help hearing function and connection between the pitches
989 I am developing a database of folk songs from all over the world Music ed is our largest degree so we sing the folk songs in sight singing harmonize them and perform singandplay exercises with them in piano class and the students play them on instruments in their methods classes and teach them in elementary methods We also use melodies from other sources including classical jazz and facultycomposed melodies
954
954
954
954
954 Familiar tunes Christmas tunes Motives and themes from standard repertoire
922
922
922
922
922 Folk songs common practice music poprock film and TV scores

Ap Responses, same as checking CVS import for TODO

Repertoire

run_id response
1011 original melodies, melodies found in published (public domain) pieces, original harmonic progressions in SATB style, Bach chorales, original rhythms, Classical-era piano sonatas, etc.
1079 pop/rock music, some folk, classical (i.e., galant, romantic, baroque - including some Bach chorales), early jazz.
1061 Singing—-Fixed-do solfege, using graded materials. Folk songs. Bach chorales. Singing of intervals. Take a musical example with a melody and a bass line —sing one part and play the other. Dictation in one and two parts. Chordal dictation, using chord progressions and chorales.
1071 I don’t currently teach aural skills. I teach a Fundamentals class.
1081 world music folk songs, chorale-style melodies, pre-composed original melodies, melodies in different tuning systems,
1095 Folk songsart music
1129 folk songs, popular songs, chorales, excerpts from common-practice period repertoire
1207 Most of the repertoire of the current curriculum is drawn from Karpinski’s Anthology. Some popular music is added.
1139 Bach choraleschoral worksfuguessonatassymphonies, such as Mozart, Haydn etc.songs
1194 canonic and noncanonic (pieces by women, persons of color, etc.) baroque, classical, and romantic music; and equally lots of popular musics (pop, rock, jazz standards, broadway, folk, americana, country, R&B) especially post 1980 hits.
1307 Hymn tunes, chorales, string quartets, symphonies, slow movements of pieces, solo etudes, folk songs, popular songs, electronic dance music with strong bass lines.
1446 Chinese folk songs with pentatonic scales.textbooks of Solfege from China Conservatory of Music/ Shanghai Conservatory of Music/ Central Conservatory of Music.des solfeges.of Игорь Владимирович Способин.
1501 France Solfeggio,Sposobin.
15 asdfasdf
1480 Classical,pop,jazz,folk
1521 classic
1588 中国音乐学院视唱练耳分级教程 中国五声调式民歌与经典旋律
1665 folk songs, Bach chorales
1616 folk songs ,classical song,jazz,popular song
1677 Chinese folk songs - Yao nationality Dance music
1675 folk songs,classical chorales,jazz
1707 Vocal music, String Quartet, children’s songs, folk songs
1678 folk songs,chorales(Bach,Mozart,Bruckner etc.),classical music works,jazz
1729 Bach chorales
1727 mozart
1706 Mozart, requium, quartet for the end of timeArt Song
173 Folk songs, Bach chorales, standard repertoire from the Western classical canon
216 folk songs, popular songs, Bach chorales, composed chord progressions, melodic excerpts from a broad range of repertoire.
226 Use a mixture of melodies and harmonic progressions from various styles of music.
295 LOTS of art song (especially 19th-c German), some jazz tunes, a lot of Renaissance through 19th-c choral music, and a smattering of gospel tunes for hearing/singing harmony in backing vocals.
303 Any and all repertoire that uses pitched material!
291 popular music
319 I don’t teach aural skills.
32 Lots of different repertoire, from Gregorian chant for work on modes to jazz and 20th century material (like Bartok)
313 There is no type of repertoire that I don’t use. I have used traditional music from all over the world, I use South and North Indian classical music, I use classical repertoire (all genres), I use jazz, I use popular music, I use Broadway, I have used some North American indigenous music (but with care that I am not using/sharing sacred or other music that the communities in question are not open to sharing). I don’t use all of these in every semester, but over the course of a year my students have met at least one example in most of these categories.
366 anthology repertoire (specifically Ottman sight-singing text)music from several genresand improvised melodies, rhythms, and chord progressions
360 Bach chorales, Schubert Lieder, Negro spirituals, folk songs
371 classical music, pop music, my own made-up melodies
386 Melodia; Modus Novus; SATB texture (Bach; Franc; Stravinsky; Webern)
427 Whatever is in the book, so folk songs and Bach chorales.
395 Chorales, Mozart, Beethoven, Haydn, Pop songs, Broadway songs, Gospel, the students bring their own examples sometimes.
401 music from Karpinski anthology, improvisation, popular music (current top 10 and from the past 50 years), folk music
466 Folk songs, lieder, mélodie, art song, music theater, popular songs, jazz standards (from lead sheets), classical repertoire (solo, orchestral, chamber), Bach chorales.
489 I have never taught aural skills, just first-year written theory.
486 European-originating art and folk music, afro-diasporic music (jazz, blues, rock, rap, hiphop, bluegrass, etc.), Karnatic ragas, Peking opera patterns.
502 Folk songs, elementary music education repertoire, bespoke compositions in references (Ottman-Rogers).
540 Mostly I use selections from Cengage’s Music for Sight-Singing and Music for Ear-Training.
545 Bach chorales, simplifications of chorales, melodic fragments, melodic singing
593 Notated and recorded, conventionally tonal Western art music from the eighteenth, nineteenth, and twentieth centuries; excerpts from recordings of tonal Western popular music from the twentieth and twenty-first centuries; a small number of excerpts from non-Western folk and art musics.
598 I’ve never been in a position of sufficient seniority, when teaching aural skills classes, to choose my own repertoire.
556 Country Western; film/TV music (especially short excerpts); 2-voice Bach chorales (BWV 439-507); classical;
617 Melodies from common practice symphonies, folk songs, things like Happy Birthday, etc.
621 Bach chorales and more
670 Examples used in the Cleland-Dobrea-Grindahl aural skills text.
747 Mostly original melodies and harmonic examples, occasionally based on small-c classical melodies explored later in the class period.
824 Ottman/Rogers, Haydn divertimenti, Renaissance bicinia and motets, chorales, Bach inventions, counterpoint examples from Salzer & Schachter’s Counterpoint in Composition.
815 all of the above. I use an Anthology that mixes many different source materials
695 tonal: classical melodies, folk songs, pop tunesmelodies and scalesscales
769 Folk songs, Bach chorales, Tunes in Dr. Karpinski;s Anthology of Sight Singing
841 I’m a TA and my instructors mostly decide for me…: Ottman/Rogers and 18th-century string quartets-tonal: Modus Novus and lieder by Berg and Webern, or sometimes Mamlok etc
887 From all musics, it is important that the music used are from outside as well as within Western European Art Musics, further musics should be selected that the group being taught identify with.
900 popular music, movie themes, western classical repertoire.
896 Wide variety of melodies, mostly from SS textbooks.
974 pop tunes, classical rep (Mozart, Beethoven, Schubert), and constructed examples
989 I am developing a database of folk songs from all over the world. Music ed is our largest degree, so we sing the folk songs in sight singing, harmonize them and perform sing-and-play exercises with them in piano class, and the students play them on instruments in their methods classes and teach them in elementary methods. We also use melodies from other sources, including classical, jazz, and faculty-composed melodies.
954 Familiar tunes, Christmas tunes. Motives and themes from standard repertoire.
922 Folk songs, common practice music, pop/rock, film and TV scores

Please list examples of repertoire you use in your aural skills teaching (folk songs, Bach chorales, jazz, etc.).

Template

run_id response
1011 rock/pop
1079 more jazz perhaps?
1061 More sight-singing and examples from the repertoire (as opposed to an aural skills text book)
1071 n/a
1081 more repertoire in diverse tuning systems
112 I’d love for our material to be as relevant as possible for our students, so I want to draw on more of the music they already know and like. (That obviously varies widely, depending on the student.) I also want to challenge them to appreciate music that is not in their cultural bubble. To some extent, I can meet both needs to some degree by surveying the class about their tastes at the start, and by integrating my own experience and taste.are in the process of shifting our curriculum to reflect more popular music and to ensure a wide diversity of voices.I had the opportunity, I would like to be able to reach beyond pitch and rhythm based requirements for aural skills. But, I do find them necessary for musicianship, and many students seem to need the entire sequence just to attain some basic fluency with those skills.
1095 NR
1129 world musics
1207 More popular musicmusic from others part of the world than the West
1139 Chinese classcial music
1194 I’d like to open up rep to incorporate more non-Western musics, and I am going to need to learn more before I am able to do that as effectively as I have integrated Western popular musics into my teaching.
1307 Popular songs, especially the rhythms of hip-hop, metal, and electronic dance music.
1446 modern and contemporary music from China
1501 Art song,Multi-part chorus.
15 asdfasdf
1480 Any repertoire can be taught,depending on what is taught and how it is taught.
1521 good for singing
1588 中国传统民间音乐曲目
1665 Chopin Mazurka, Beethoven Piano Sonatas
1616 mainly classical music such as Schubert and Schumann’s art song
1677 Western classical music
1675 add Modern and contemporary works
1707 Opera, movie music, jazz, pop music
1678 Musical works of all periods
1729 music folk music
1727 Moazrt、Haydn
1706 I have taught everything that I wished to use in a classroom, unless it is music that I don’t know
173 Less Western-centric music
216 Any and all repertoire which helps build in students the aural skills they need to be successful in THEIR chosen musical path in subsequent years.
226 What I currently use.
285 I would love it if there were a Karpinski-style text that focused on pop/rock as much as on Western classical; when I have the time, I plan on figuring out how to shift the focus of my class accordingly.
295 Much more early-atonal (or very late tonal) repertoire, particularly music that uses collectional kind of compositional formations.
303 Pop
288 I’m pretty happy with our repertoire selections at the moment.
291 more popular music
319 I’d be really curious to see what happened if you made teaching maqamat the main focus. Of course, most of our students would scream. But I bet this would be really great ear training–perhaps they’d then be able to get their microtones right?
32 I would want to highlight works by underrepresented composers that have the same pedagogical effect as a Bach chorale or Schubert melody, but are less popular and introduce students to a wider variety of repertoire
313 Iranian and other Middle Eastern music. This is not a musical tradition I use a lot (microtones and alternative tuning systems make it harder to use in a Western classical school/curriculum. Gamelan poses a similar challenge.
366 More indigenous repertoire, especially in non 12-TET systems
360 Jazz, gospel, Latino music
371 more pop music, jazz
386 None in particular.
427 More Polish music, music by nineteenth-century women.
395 Music the students use in life.
44 Jazz charts, non-equal—tempered music
401 I am happy with what I am teaching, although I would love to allow more opportunities for students to bring music in that we could analyze in some way together.
466 More popular music and jazz.
453 jazz
489 Our aural skills instructor uses national anthems quite effectively, as they often contain triadic motives or melodies that can readily be related to a triad.
486 Indonesian gamelan, maqam, mariachi, South American dance styles.
502 N/A
545 I’m given the opportunity to use any appropriate repertoire(s).
593 I want to teach more Western popular music and more non-Western musics, although I believe that some styles of the latter should not be taught by instructors who do not have thorough expertise and/or personal connections with the music. I believe that much more research is necessary to support aural skills instruction in Western popular music and especially non-Western musics.
598 I would probably use Motown, because the melodic content is quite varied and sophisticated and rhythmically interesting
556 I have complete freedom over what rep I use – so this question does not apply to me.
617 Video game music, punk rock
621 n/a
670 I would like to include more non-Western repertoire.
747 None comes to mind
824 More early classical music and modern classical music.
695 I am satisfied with my repertoire
769 N/A
841 not sure, I don’t have the same expertise in other rep
887 I am given the opportunity! Rather luckily I am the module leader.
830 Anything–have not been teaching for years…
900 20th century music
896 Most of what I use is fairly generic or stylistically non-descript. I am using more pop and jazz influenced style in harmonic work, and some in melody.
974 I’m trying to diversity the repertoire beyond the Western classical repertoire.
989 I am continually looking for more sources, although I try to use mostly melodies that support the theory curriculum. We have put in a lot of work to align theory, sight singing, and keyboard curricula. The theory core is western classical, with an option to continue with jazz theory afterwards.
954 Singing and dictating motives and themes from standard repertoire. Popular tunes with various 7th chords.
922 The same rep I am currently teaching. I don’t have an issue with what I’m doing.

Intended Response

Template

run_id response
1011 singing scale degrees as indicated using solfege hand signs, singing scale degrees as indicated by pointing to solfege syllables written on the board
1079 There are many: pitch matching, distinguish higher/lower, distinguish same/different, singing major scales, singing from solfege, melodic echo (without solfege), singing the tonic of pieces of pop/classical, rhythmic echo, Scale degree ID (e.g., play a progression then play a note in the scale), singing minor scales, singing sequentials, singing chord arpeggiations from RN/FB progressions, melodic echo (with solfege), Chord ID (RNs and bass notes in solfege), singing guidetones along with pieces of pop/classical, improvisation, melodic dictation (using proto-notation).
1061 Singing intervals, once given a reference point. Aural identification of intervals. Certain rhythm excersices —a sort of call and response. Or using two people to teach two against three, for example.
1071 Choir Builders (looping a four measure four part harmonization of a pop song on solfege); Solfege Echo Chain Singing Game; Add on Scale (Do, Do Re Do, Do Re Mi Re Do etc); Add-On Scale with rests on given syllables;
1081 call and response singing, melodic improvisation, singing arpeggiated chord progressions, melodic dictation with solfege instead of staff writing.
112 I actually usually do most in-class dictations with solfege only (and sometimes rhythm notation or protonotation.) Harmonic dictations are done with bass in solfege, then soprano and roman numerals. No staff.also use handsigns for a significant portion of each class, both singing and short melodic dictation.
1095 Every one of those listed earlier. Notation is an independent issue. I don’t try to teach relative (or absolute) pitch with the complication of notation at first.
1129 melody dictation using solfege, repetition of short melodies or singing in canon to develop memory
1207 ImprovisingDictation using our bodies - I would have to explain itdrills
1139 Canon singingimprovisationover a bass patternfuga answers
1307 Identifying or singing back Movable-Do solfege.or singing back Roman numerals or chord function labels (T-PD-D). chord quality (major, minor, Mm7, half-diminished, etc.)cadences by ear.formal sections of pieces. back rhythms on Takadimi or clapping them. the meter of pieces through conducting while listening.
1446 I will play several melodies or rhythmic patterns, allowing my students to imitate the content with singing or clapping.
1501 No watch music and sing.
15 asdfasdf
1480 improvise
1521 sing in remember
1588 模仿
1665 Model singing
1616 imitate singing
1677 Melody model singing
1675 imitate the rhythm
1707 Impromptu singing melody
1678 imitate the tongs、intervals、melodies
1729 背记旋律,快速背记节奏。不看谱模唱旋律
1727 lisenning and singing which I play;singing and sighting
1706 Multi-voice sight-singing; students sing a section of music one by one, the next student start from the end of the previous student
173 Dalcroze-inspired activities that involve moving, singing, clapping, etc. without any reference to notation.
216 I do quite a bit of work around working with pitch in a scale/key context without relying on notation – scale degree numbers etc.
226 Sing- Back activities - students sing back melodies in sol-fege.
285 Sing-backs, improvisation, solfege/takadimi-only dictation/transcription
295 Virtually none of my warmups involve staff notation, and I have a set of arpeggiation exercises that I have students memorize
288 - Call/response melodies- Call/response rhythms- Longer memorization/sing-back activities- Melodic transcription with scale syllables- Harmonic dictation with Roman numerals
291 all of them.
319 Again, I only teach written theory. But I think improvised counterpoint exercises would be great here. (Some, e.g., faux-bourdon techniques, would obviously involve some notation–to sing on the book, I guess you do need a book.)
32 Sight-singing, interval practice, listening for musical forms/cadences/modulations
366 transcription of popular music: melodies using solfege, harmonies using Roman numeralsand singing from lead sheetsidentificationanalysisidentificationidentification and replication (using synthesizers)of production elements (filters, effects, reverb)
360 singing intervals, chords, scale degrees, melodies
371 singing a heard melody with solfege but not writing it down; identify keys to which a melody modulates by Roman numerals (modulating to V, for example); identifying and conducting asymmetrical meters from recordings; improvisation; singing from solfege or hand symbol cues rather than from notation
386 Aural analysis of all kinds.
427 Drinking coffee?
395 Intervalsprogressionsback melodies heardprogressions in popular and Broadway songs
44 Solfege exercises, repeating melodies by ear
466 Form ID and discussion; dictation and sight-singing from/using functional notation; harmonic dictation (using RNs and/or chord symbols).
489 Not applicable, since I don’t teach the subject.
486 Kolkattu rhythmic performances, ensemble performances learned by ear and using Nashville numbering system, singing just-tuned intervals to a drone, Pauline Oliveros Deep Listening activities, improvisations based on given scale types, call and response exercises.
511 Improvised melodiesalong to a chord progressionmelodies back on solfegeto chord progressions and describing them in Roman numerals
502 Singbacks, I play something on piano, student sings it back with or without solfege. SWIPA (sing what I point at), I point at solfege on the board and students sing that note. Audiation, having students actively imagine specific sounds/pitches.
540 Playing intervals and asking students to identify them; playing chord progressions and asking students to identify each harmony’s Roman numeral analysis; playing a chord progression with non-standard triadic harmonies and asking students to think about and discuss what harmonic function (tonic, dominant, subdominant) the mystery chords feel like they are fulfilling.
545 Scale degree dictation, transcribing length of note via length of pen stroke.
593 Singing with movable-do solfège syllables using Curwen/Kodaly hand signs; identifying movable-do solfège syllables by ear; melodic dictation using Gary Karpinski’s protonotation; singing and dictation using Daniel Stevens’ do/ti test; recognizing rhythmic patterns such as tresillo, double tresillo, and son clave by ear; singing using scale-degree cipher notation.
556 1. Sing-along movies (music videos) —Melodic: Sing the solfege provided on screen in sync with the music—Harmonic: Sing the guide tones on the first play through; then sing the complete chord arpeggios on the repetition. (On screen labels start with only guide tones; add arpeggios; arpeggios + Roman numerals; and finally only Roman numerals to associate the sound of a harmony with its RN.). Singing dictation (with unlabeled sing-along movies)—Melodic: Given the starting label for a melody, provide the labels for the rest of the phrase (or complete melody)—Harmonic: Chord changes labeled on movie as #1, #2, #3, etc. Students sing guide tones the first time through and then chord arpeggios the second time.
617 Point to solfège syllables and have them sing the pitch (I play them into a key beforehand).
621 n/a
670 Identification of pitches as scale degrees.of phrase structure.of discrete structures.of form.of Nashville number charts..
747 Singbacks of short melodic examples; rhythmic dictation.
824 Almost all the vocal drills using scale degrees, including singing back of melodies played on the piano, singing familiar tunes, scale patterns, and chord arpeggiations with scale degrees.
815 -Singing an improvised short excerpt and asking students to sing it back in solfege.- playing an unfamiliar tonal tune and stopping in the middle of a phrase and asking what scale degree I stopped on- the ones I mentioned in my relative pitch development activities
695 conducting /listening activities such as aural ID of form, timbre, texture, instrumentation, etc.memory activitiesimprov activities
769 Protonotation in dictation, error detection and sight singing at the rudimentary level.
841 post-tonal trichord dictation: just interval-class numbers and prime form numbersdictation: identifying paradigms by scale degree numberswhere students sing back what I play
887 Many of my activity are about embodiment which include triangulating the concept with its name with the body. So, conducting with a wand to get a sense of Harry Potter identified Time Signatures as an example. I have lots of these and would be happy to contribute at a later stage.
830 Some of the exercises mentioned in Part One.
900 1.Which is the higher? How many notes in the chord can you hear? Questions related to timbre. Questions related to texture. Questions related to dynamics. questions related to structure.
896 Lots of work with solfege and takadimi syllables. Call and response, improvisation, circle singing, pass the motive. Lots of dictation in first year with answers only in solfege and rhythm syllables.
974 hmmmm… maybe form?
989 Improvisation exercises, and I start dictation with notating rhythm and solfege rather than staff notation.
954 Listen and sing back with solfege without notation - memorization practice.
922 Aural recognition of harmonic progressions using Roman numerals.

No Notation List

Percent Time Western Classical Rep


Consider Facet Wrapping this on location (for Shiny!)

Don’t Depend on Notation


Consider Facet Wrapping this on location (for Shiny!)

Majority of Teaching Responsibilties

run_id trial_index response
1011 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“General education music courses for collegiate students”]}
1079 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Graduate, Written)”]}
1061 40 {“Colors”:[“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate , Aural)”]}
1071 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music courses for collegiate music majors not listed here”]}
1081 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Graduate, Written)”]}
112 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Collegiate private lessons (in music performance)”]}
1095 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”]}
1129 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Collegiate private lessons (in music performance)”]}
1207 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Graduate, Written)”]}
1139 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”]}
1194 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music composition”,“Music courses for collegiate music majors not listed here”]}
1307 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate, Written)”,“General education music courses for collegiate students”]}
1446 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”,“Pre-University Level private lessons (music performance)”]}
1501 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”]}
15 40 {“Colors”:[“Music theory (Junior/Senior upper-level courses, Aural)”]}
1480 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”,“Collegiate private lessons (in music performance)”,“Music composition”,“General education music courses for collegiate students”,“Pre-University Level private lessons (music performance)”]}
1521 40 {“Colors”:[“Music theory (Junior/Senior upper-level courses, Aural)”,“No Response”]}
1588 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“General education music courses for collegiate students”]}
1665 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”]}
1616 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”,“Music composition”]}
1677 40 {“Colors”:[“Pre-High School Classroom Music”,“Pre-University Level private lessons (music performance)”]}
1675 40 {“Colors”:[“High school music theory”,“Pre-High School Classroom Music”]}
1707 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”,“Music composition”]}
1678 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”]}
1729 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”]}
1727 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate , Aural)”]}
1706 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“High school music theory”,“Pre-High School Classroom Music”]}
173 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Collegiate private lessons (in music performance)”]}
216 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music composition”]}
226 40 {“Colors”:[“Music theory (Junior/Senior upper-level courses, Written)”]}
285 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Collegiate private lessons (in music performance)”,“Music composition”,“General education music courses for collegiate students”]}
295 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”]}
303 40 {“Colors”:[“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Graduate, Written)”,“Music courses for collegiate music majors not listed here”]}
288 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Junior/Senior upper-level courses, Written)”,“General education music courses for collegiate students”]}
291 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music courses for collegiate music majors not listed here”]}
319 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Graduate, Written)”,“Music composition”]}
32 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Aural)”]}
313 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Collegiate private lessons (in music performance)”,“Music courses for collegiate music majors not listed here”,“Pre-University Level private lessons (music performance)”]}
366 40 {“Colors”:[“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music composition”]}
360 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music courses for collegiate music majors not listed here”]}
371 40 {“Colors”:[“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Remedial Graduate, Written)”]}
386 40 {“Colors”:[“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”]}
427 40 {“Colors”:[“I do not currently teach”]}
395 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“General education music courses for collegiate students”]}
44 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Remedial Graduate , Aural)”]}
401 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Graduate, Written)”,“General education music courses for collegiate students”]}
466 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Remedial Graduate, Written)”]}
453 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Graduate, Written)”]}
489 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music courses for collegiate music majors not listed here”]}
486 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”]}
511 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Graduate, Written)”]}
502 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“I do not currently teach”]}
540 40 {“Colors”:[“I do not currently teach”]}
545 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music composition”,“Music courses for collegiate music majors not listed here”]}
593 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”]}
598 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Graduate, Written)”]}
556 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate, Written)”]}
617 40 {“Colors”:[“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Pre-University Level private lessons (music performance)”]}
621 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”]}
670 40 {“Colors”:[“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Remedial Graduate , Aural)”,“Music courses for collegiate music majors not listed here”]}
747 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music composition”]}
824 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Remedial Graduate , Aural)”,“Music theory (Graduate , Aural)”]}
815 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Remedial Graduate, Written)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”,“Collegiate private lessons (in music performance)”,“Music composition”]}
695 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Remedial Graduate , Aural)”]}
769 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Collegiate private lessons (in music performance)”]}
841 40 {“Colors”:[“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”]}
887 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Remedial Graduate , Aural)”]}
830 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“I do not currently teach”]}
900 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Junior/Senior upper-level courses, Aural)”,“Music theory (Graduate, Written)”,“Music theory (Graduate , Aural)”,“General education music courses for collegiate students”,“High school music theory”]}
896 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music theory (Graduate, Written)”]}
974 40 {“Colors”:[“Music theory (First Year Undergraduate, combined Theory and Aural)”,“Music theory (Second Year Undergraduate, combined Theory and Aural)”,“Music theory (Junior/Senior upper-level courses, Written)”,“Music courses for collegiate music majors not listed here”]}
989 40 {“Colors”:[“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Aural)”,“Music courses for collegiate music majors not listed here”]}
954 40 {“Colors”:[“Music theory (First Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”]}
922 40 {“Colors”:[“Music theory (Remedial Undergraduate, Written)”,“Music theory (Remedial Undergraduate, Aural)”,“Music theory (First Year Undergraduate, Written)”,“Music theory (First Year Undergraduate, Aural)”,“Music theory (Second Year Undergraduate, Written)”,“Music theory (Second Year Undergraduate, Aural)”,“General education music courses for collegiate students”]}

text

Years Teaching Music Theory Classroom

run_id trial_index response
1011 41 {“Q0”:“22”}
1079 41 {“Q0”:“20”}
1061 41 {“Q0”:“47”}
1071 41 {“Q0”:“20”}
1081 41 {“Q0”:“35”}
112 41 {“Q0”:“23”}
1095 41 {“Q0”:“30”}
1129 41 {“Q0”:“12”}
1207 41 {“Q0”:“27”}
1139 41 {“Q0”:“1”}
1194 41 {“Q0”:“22”}
1307 41 {“Q0”:“8”}
1446 41 {“Q0”:“12”}
1501 41 {“Q0”:“8”}
15 41 {“Q0”:“asdf”}
1480 41 {“Q0”:“25 years”}
1521 41 {“Q0”:“1”}
1588 41 {“Q0”:“23”}
1665 41 {“Q0”:“9”}
1616 41 {“Q0”:“19”}
1677 41 {“Q0”:“5”}
1675 41 {“Q0”:“7”}
1707 41 {“Q0”:“14”}
1678 41 {“Q0”:“4”}
1729 41 {“Q0”:“26”}
1727 41 {“Q0”:“15”}
1706 41 {“Q0”:“20”}
173 41 {“Q0”:“8”}
216 41 {“Q0”:“30”}
226 41 {“Q0”:“22”}
285 41 {“Q0”:“20”}
295 41 {“Q0”:“5”}
303 41 {“Q0”:“26”}
288 41 {“Q0”:“11”}
291 41 {“Q0”:“10”}
319 41 {“Q0”:“7”}
32 41 {“Q0”:“4”}
313 41 {“Q0”:“26”}
366 41 {“Q0”:“24”}
360 41 {“Q0”:“33”}
371 41 {“Q0”:“28”}
386 41 {“Q0”:“45”}
427 41 {“Q0”:“8”}
395 41 {“Q0”:“8.5”}
44 41 {“Q0”:“1”}
401 41 {“Q0”:“19”}
466 41 {“Q0”:“10”}
453 41 {“Q0”:“17”}
489 41 {“Q0”:“21”}
486 41 {“Q0”:“26”}
511 41 {“Q0”:“16”}
502 41 {“Q0”:“8”}
540 41 {“Q0”:“30”}
545 41 {“Q0”:“16”}
593 41 {“Q0”:“9”}
598 41 {“Q0”:“6”}
556 41 {“Q0”:“34”}
617 41 {“Q0”:“12”}
621 41 {“Q0”:“4”}
670 41 {“Q0”:“22”}
747 41 {“Q0”:“40”}
824 41 {“Q0”:“14”}
815 41 {“Q0”:“24”}
695 41 {“Q0”:“38”}
769 41 {“Q0”:“28 years”}
841 41 {“Q0”:“5”}
887 41 {“Q0”:“19”}
830 41 {“Q0”:“4”}
900 41 {“Q0”:“42 years”}
896 41 {“Q0”:“34”}
974 41 {“Q0”:“40”}
989 41 {“Q0”:“23”}
954 41 {“Q0”:“20”}
922 41 {“Q0”:“15”}

text

Higest Degree

run_id trial_index response
1011 42 {“Colors”:[“Ph.D. in Music Theory”]}
1079 42 {“Colors”:[“Ph.D. in Music Theory”]}
1061 42 {“Colors”:[“Bachelor’s in music”]}
1071 42 {“Colors”:[“No Response”]}
1081 42 {“Colors”:[“Ph.D. in Music Theory”]}
112 42 {“Colors”:[“Master’s in music”]}
1095 42 {“Colors”:[“Ph.D. in Music Theory”]}
1129 42 {“Colors”:[“Ph.D. in Music Theory”]}
1207 42 {“Colors”:[“Ph.D. in Music Theory”]}
1139 42 {“Colors”:[“Master’s in music”]}
1194 42 {“Colors”:[“Ph.D. in Music Theory”]}
1307 42 {“Colors”:[“Ph.D. in Music Theory”]}
1446 42 {“Colors”:[“Master’s in music”]}
1501 42 {“Colors”:[“Master’s in music”]}
15 42 {“Colors”:[“No Response”]}
1480 42 {“Colors”:[“Ph.D. in Music Theory”]}
1521 42 {“Colors”:[“DMA in Theory/Composition”]}
1588 42 {“Colors”:[“Master’s in music”]}
1665 42 {“Colors”:[“Master’s in music”]}
1616 42 {“Colors”:[“Master’s in music”]}
1677 42 {“Colors”:[“High School Diploma”]}
1675 42 {“Colors”:[“Master’s in music”]}
1707 42 {“Colors”:[“Master’s in music”]}
1678 42 {“Colors”:[“Master’s in music”]}
1729 42 {“Colors”:[“Bachelor’s in music”]}
1727 42 {“Colors”:[“Master’s in music”]}
1706 42 {“Colors”:[“Master’s in music”]}
173 42 {“Colors”:[“DMA in Performance”]}
216 42 {“Colors”:[“Ph.D. in Composition”]}
226 42 {“Colors”:[“Ph.D. in Music Theory”]}
285 42 {“Colors”:[“Master’s in music”]}
295 42 {“Colors”:[“Master’s in music”]}
303 42 {“Colors”:[“Ph.D. in Music Theory”]}
288 42 {“Colors”:[“Ph.D. in Music Theory”]}
291 42 {“Colors”:[“Ph.D. in Music Theory”]}
319 42 {“Colors”:[“Ph.D. in Musicology”]}
32 42 {“Colors”:[“Bachelor’s in music”]}
313 42 {“Colors”:[“DMA in Performance”]}
366 42 {“Colors”:[“DMA in Theory/Composition”]}
360 42 {“Colors”:[“Ph.D. in Music Theory”]}
371 42 {“Colors”:[“Ph.D. in Music Theory”]}
386 42 {“Colors”:[“Master’s in music”]}
427 42 {“Colors”:[“Master’s in music”]}
395 42 {“Colors”:[“Ph.D. in Music Theory”]}
44 42 {“Colors”:[“Bachelor’s in music”]}
401 42 {“Colors”:[“Ph.D. in Music Theory”]}
466 42 {“Colors”:[“Ph.D. in Music Theory”]}
453 42 {“Colors”:[“Ph.D. in Music Theory”]}
489 42 {“Colors”:[“Ph.D. in Musicology”]}
486 42 {“Colors”:[“Ph.D. in Music Theory”]}
511 42 {“Colors”:[“Ph.D. in Music Theory”]}
502 42 {“Colors”:[“Ph.D. in Music Theory”]}
540 42 {“Colors”:[“DMA in Performance”]}
545 42 {“Colors”:[“Ph.D. in Composition”]}
593 42 {“Colors”:[“Ph.D. in Music Theory”]}
598 42 {“Colors”:[“Ph.D. in Music Theory”]}
556 42 {“Colors”:[“Ph.D. in Music Theory”]}
617 42 {“Colors”:[“Ph.D. in Music Theory”]}
621 42 {“Colors”:[“Master’s in music”]}
670 42 {“Colors”:[“Ph.D. in Music Theory”]}
747 42 {“Colors”:[“DMA in Composition”]}
824 42 {“Colors”:[“Ph.D. in Music Theory”]}
815 42 {“Colors”:[“Ph.D. in Music Theory”]}
695 42 {“Colors”:[“Ph.D. in Music Theory”]}
769 42 {“Colors”:[“DMA in Performance”]}
841 42 {“Colors”:[“Master’s in music”]}
887 42 {“Colors”:[“Ph.D. in Musicology”]}
830 42 {“Colors”:[“Ph.D. in Music Theory”]}
900 42 {“Colors”:[“Master’s in music”]}
896 42 {“Colors”:[“Ph.D. in Music Theory”]}
974 42 {“Colors”:[“Ph.D. in Music Theory”]}
989 42 {“Colors”:[“DMA in Performance”]}
954 42 {“Colors”:[“DMA in Performance”]}
922 42 {“Colors”:[“Ph.D. in Music Theory”]}

text

Years Since Graduating with Highest Degree

run_id trial_index response
1011 43 {“Q0”:“16”}
1079 43 {“Q0”:“12”}
1061 43 {“Q0”:“Oh dear, such a question!! Gulp—46”}
1071 43 {“Q0”:“8 (PhD in Choral conducting and Music Education)”}
1081 43 {“Q0”:“31”}
112 43 {“Q0”:“28”}
1095 43 {“Q0”:“NR”}
1129 43 {“Q0”:“8”}
1207 43 {“Q0”:“15”}
1139 43 {“Q0”:“current student”}
1194 43 {“Q0”:“14”}
1307 43 {“Q0”:“2”}
1446 43 {“Q0”:“12”}
1501 43 {“Q0”:“8”}
15 43 {“Q0”:“asdf”}
1480 43 {“Q0”:“no response”}
1521 43 {“Q0”:“3”}
1588 43 {“Q0”:“19”}
1665 43 {“Q0”:“3”}
1616 43 {“Q0”:“18”}
1677 43 {“Q0”:“14”}
1675 43 {“Q0”:“No Response”}
1707 43 {“Q0”:“11”}
1678 43 {“Q0”:“7”}
1729 43 {“Q0”:“25.5”}
1727 43 {“Q0”:“13”}
1706 43 {“Q0”:“20”}
173 43 {“Q0”:“9”}
216 43 {“Q0”:“27”}
226 43 {“Q0”:“15”}
285 43 {“Q0”:“15”}
295 43 {“Q0”:“Current Student”}
303 43 {“Q0”:“14”}
288 43 {“Q0”:“3”}
291 43 {“Q0”:“9”}
319 43 {“Q0”:“12”}
32 43 {“Q0”:“Current Student”}
313 43 {“Q0”:“15”}
366 43 {“Q0”:“14”}
360 43 {“Q0”:“31”}
371 43 {“Q0”:“15”}
386 43 {“Q0”:“45”}
427 43 {“Q0”:“Current Student”}
395 43 {“Q0”:“3”}
44 43 {“Q0”:“current student”}
401 43 {“Q0”:“9”}
466 43 {“Q0”:“1”}
453 43 {“Q0”:“11”}
489 43 {“Q0”:“21”}
486 43 {“Q0”:“19”}
511 43 {“Q0”:“8”}
502 43 {“Q0”:“2”}
540 43 {“Q0”:“32”}
545 43 {“Q0”:“16”}
593 43 {“Q0”:“5”}
598 43 {“Q0”:“1”}
556 43 {“Q0”:“17”}
617 43 {“Q0”:“3”}
621 43 {“Q0”:“current student”}
670 43 {“Q0”:“19”}
747 43 {“Q0”:“36”}
824 43 {“Q0”:“15”}
815 43 {“Q0”:“23”}
695 43 {“Q0”:“16”}
769 43 {“Q0”:“30 years”}
841 43 {“Q0”:“current student”}
887 43 {“Q0”:“14”}
830 43 {“Q0”:“21”}
900 43 {“Q0”:“Current PhD student”}
896 43 {“Q0”:“28”}
974 43 {“Q0”:“22”}
989 43 {“Q0”:“16”}
954 43 {“Q0”:“17”}
922 43 {“Q0”:“11”}

text

Type Most Recent Degree Inst

run_id trial_index response
1011 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
1079 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
1061 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (stand-alone)”]}
1071 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
1081 44 {“Colors”:[“NASM-accredited music program”]}
112 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (stand-alone)”,“NASM-accredited music program”]}
1095 44 {“Colors”:[“Public institution”,“Music Department within a university”]}
1129 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
1207 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
1139 44 {“Colors”:[“Music Department within a university”]}
1194 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
1307 44 {“Colors”:[“Conservatory-style professional music school (within a university)”,“Music Department within a university”]}
1446 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1501 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
15 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
1480 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1521 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1588 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1665 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1616 44 {“Colors”:[“Private institution”]}
1677 44 {“Colors”:[“Private institution”]}
1675 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1707 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
1678 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1729 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1727 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1706 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
173 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
216 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
226 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
285 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
295 44 {“Colors”:[“Public institution”,“Music Department within a university”]}
303 44 {“Colors”:[“Public institution”,“NASM-accredited music program”]}
288 44 {“Colors”:[“Public institution”,“Music Department within a university”]}
291 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
319 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
32 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
313 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
366 44 {“Colors”:[“Public institution”,“Music Department within a liberal arts college”,“Music Department within a university”,“NASM-accredited music program”]}
360 44 {“Colors”:[“Private institution”,“Music Department within a university”,“NASM-accredited music program”]}
371 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (within a university)”]}
386 44 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
427 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
395 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
44 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
401 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”]}
466 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (within a university)”]}
453 44 {“Colors”:[“Public institution”]}
489 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
486 44 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
511 44 {“Colors”:[“Public institution”]}
502 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
540 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
545 44 {“Colors”:[“Private institution”,“Music Department within a university”]}
593 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
598 44 {“Colors”:[“Music Department within a university”]}
556 44 {“Colors”:[“Private institution”]}
617 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
621 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (stand-alone)”]}
670 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”,“Music Department within a university”,“NASM-accredited music program”]}
747 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
824 44 {“Colors”:[“Music Department within a university”]}
815 44 {“Colors”:[“Music Department within a university”]}
695 44 {“Colors”:[“Public institution”]}
769 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (stand-alone)”,“NASM-accredited music program”]}
841 44 {“Colors”:[“Private institution”,“Conservatory-style professional music school (within a university)”]}
887 44 {“Colors”:[“Music Department within a university”]}
830 44 {“Colors”:[“Music Department within a university”]}
900 44 {“Colors”:[“Music Department within a university”]}
896 44 {“Colors”:[“Public institution”,“Music Department within a university”,“NASM-accredited music program”]}
974 44 {“Colors”:[“Public institution”,“NASM-accredited music program”]}
989 44 {“Colors”:[“Public institution”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
954 44 {“Colors”:[“Music Department within a university”,“NASM-accredited music program”]}
922 44 {“Colors”:[“Public institution”]}

text

Best Described Role

run_id trial_index response
1011 45 {“Colors”:“Full-Time Tenured”}
1079 45 {“Colors”:“Full-Time Tenured”}
1061 45 {“Colors”:“Full-Time Tenured”}
1071 45 {“Colors”:“Full-Time Tenured”}
1081 45 {“Colors”:“Full-Time Tenured”}
112 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
1095 45 {“Colors”:“Full-Time Tenured”}
1129 45 {“Colors”:“Full-Time Tenured”}
1207 45 {“Colors”:“Full-Time Tenured”}
1139 45 {“Colors”:“Graduate Student / Teaching Assistant”}
1194 45 {“Colors”:“Full-Time Tenured”}
1307 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
1446 45 {“Colors”:“Full-Time Tenure Eligible”}
1501 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
15 45 {“Colors”:“Graduate Student / Teaching Assistant”}
1480 45 {“Colors”:“K-12 School Teacher”}
1521 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
1588 45 {“Colors”:“Full-Time Tenure Eligible”}
1665 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
1616 45 {“Colors”:“Full-Time Tenured”}
1677 45 {“Colors”:“Full-Time Tenure Eligible”}
1675 45 {“Colors”:“Full-Time Tenure Eligible”}
1707 45 {“Colors”:“Full-Time Tenured”}
1678 45 {“Colors”:“Full-Time Tenure Eligible”}
1729 45 {“Colors”:“Full-Time Tenure Eligible”}
1727 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
1706 45 {“Colors”:“Full-Time Tenured”}
173 45 {“Colors”:“Full-Time Tenure Eligible”}
216 45 {“Colors”:“Full-Time Tenured”}
226 45 {“Colors”:“Full-Time Tenured”}
285 45 {“Colors”:“Full-Time Tenured”}
295 45 {“Colors”:“Graduate Student / Teaching Assistant”}
303 45 {“Colors”:“Full-Time Tenured”}
288 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
291 45 {“Colors”:“Full-Time Tenured”}
319 45 {“Colors”:“Full-Time Tenured”}
32 45 {“Colors”:“Graduate Student / Teaching Assistant”}
313 45 {“Colors”:“Full-Time Tenured”}
366 45 {“Colors”:“Full-Time Tenured”}
360 45 {“Colors”:“Full-Time Tenured”}
371 45 {“Colors”:“Full-Time Tenured”}
386 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
427 45 {“Colors”:“I am not currently employed as a teacher”}
395 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
44 45 {“Colors”:“Graduate Student / Teaching Assistant”}
401 45 {“Colors”:“Full-Time Tenure Eligible”}
466 45 {“Colors”:“Full-Time Tenure Eligible”}
453 45 {“Colors”:“Full-Time Tenured”}
489 45 {“Colors”:“Full-Time Tenured”}
486 45 {“Colors”:“Full-Time Tenured”}
511 45 {“Colors”:“Full-Time Tenured”}
502 45 {“Colors”:“I am not currently employed as a teacher”}
540 45 {“Colors”:“I am not currently employed as a teacher”}
545 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
593 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
598 45 {“Colors”:“No Response”}
556 45 {“Colors”:“Full-Time Tenured”}
617 45 {“Colors”:“Part-Time Adjunct”}
621 45 {“Colors”:“Graduate Student / Teaching Assistant”}
670 45 {“Colors”:“Full-Time Tenured”}
747 45 {“Colors”:“Full-Time Tenured”}
824 45 {“Colors”:“Full-Time Non-Tenure Eligible”}
815 45 {“Colors”:“Full-Time Tenured”}
695 45 {“Colors”:“Full-Time Tenured”}
769 45 {“Colors”:“Full-Time Tenured”}
841 45 {“Colors”:“Graduate Student / Teaching Assistant”}
887 45 {“Colors”:“Full-Time Tenured”}
830 45 {“Colors”:“I am not currently employed as a teacher”}
900 45 {“Colors”:“K-12 School Teacher”}
896 45 {“Colors”:“Full-Time Tenured”}
974 45 {“Colors”:“Full-Time Tenured”}
989 45 {“Colors”:“Full-Time Tenured”}
954 45 {“Colors”:“Full-Time Tenured”}
922 45 {“Colors”:“Full-Time Tenured”}

text

Own AP Ability

run_id trial_index response
1011 46 1
1079 46 19
1061 46 76
1071 46 57
1081 46 92
112 46 0
1095 46 0
1129 46 0
1207 46 0
1139 46 100
1194 46 1
1307 46 28
1446 46 92
1501 46 71
15 46 83
1480 46 51
1521 46 22
1588 46 37
1665 46 81
1616 46 85
1677 46 62
1675 46 80
1707 46 91
1678 46 15
1729 46 31
1727 46 85
1706 46 100
173 46 18
216 46 0
226 46 7
285 46 8
295 46 72
303 46 0
288 46 2
291 46 11
319 46 0
32 46 24
313 46 5
366 46 0
360 46 81
371 46 14
386 46 37
427 46 100
395 46 12
44 46 56
401 46 54
466 46 67
453 46 83
489 46 68
486 46 24
511 46 4
502 46 0
540 46 77
545 46 100
593 46 0
598 46 100
556 46 10
617 46 100
621 46 10
670 46 13
747 46 94
824 46 40
815 46 14
695 46 85
769 46 100
841 46 50
887 46 0
830 46 3
900 46 24
896 46 17
974 46 20
989 46 76
954 46 88
922 46 0

text

Own RP Ability

run_id trial_index response
1011 47 100
1079 47 79
1061 47 95
1071 47 100
1081 47 100
112 47 100
1095 47 100
1129 47 79
1207 47 93
1139 47 80
1194 47 100
1307 47 94
1446 47 64
1501 47 30
15 47 20
1480 47 97
1521 47 78
1588 47 76
1665 47 69
1616 47 25
1677 47 50
1675 47 58
1707 47 76
1678 47 84
1729 47 74
1727 47 33
1706 47 45
173 47 75
216 47 100
226 47 95
285 47 95
295 47 100
303 47 88
288 47 88
291 47 83
319 47 64
32 47 79
313 47 96
366 47 100
360 47 57
371 47 88
386 47 92
427 47 100
395 47 94
44 47 90
401 47 94
466 47 100
453 47 83
489 47 91
486 47 92
511 47 96
502 47 70
540 47 100
545 47 72
593 47 78
598 47 100
556 47 100
617 47 94
621 47 97
670 47 81
747 47 100
824 47 100
815 47 96
695 47 100
769 47 100
841 47 89
887 47 81
830 47 85
900 47 100
896 47 80
974 47 77
989 47 98
954 47 98
922 47 96

text

Years Taught Professional Career

run_id trial_index response
1011 49 {“Q0”:“16”}
1079 49 {“Q0”:“20”}
1061 49 {“Q0”:“47”}
1071 49 {“Q0”:“0”}
1081 49 {“Q0”:“20”}
112 49 {“Q0”:“12”}
1095 49 {“Q0”:“23”}
1129 49 {“Q0”:“12”}
1207 49 {“Q0”:“21”}
1139 49 {“Q0”:“1”}
1194 49 {“Q0”:“22”}
1307 49 {“Q0”:“8”}
1446 49 {“Q0”:“8”}
1501 49 {“Q0”:“8”}
15 49 {“Q0”:“asdf”}
1480 49 {“Q0”:“25 years”}
1521 49 {“Q0”:“3”}
1588 49 {“Q0”:“23”}
1665 49 {“Q0”:“1”}
1616 49 {“Q0”:“19”}
1677 49 {“Q0”:“4”}
1675 49 {“Q0”:“7”}
1707 49 {“Q0”:“14”}
1678 49 {“Q0”:“4”}
1729 49 {“Q0”:“26”}
1727 49 {“Q0”:“14”}
1706 49 {“Q0”:“20”}
173 49 {“Q0”:“5”}
216 49 {“Q0”:“30”}
226 49 {“Q0”:“15”}
285 49 {“Q0”:“15”}
295 49 {“Q0”:“3”}
303 49 {“Q0”:“20”}
288 49 {“Q0”:“2”}
291 49 {“Q0”:“10”}
319 49 {“Q0”:“0”}
32 49 {“Q0”:“4”}
313 49 {“Q0”:“13”}
366 49 {“Q0”:“23”}
360 49 {“Q0”:“5”}
371 49 {“Q0”:“17”}
386 49 {“Q0”:“45”}
427 49 {“Q0”:“8”}
395 49 {“Q0”:“3.5”}
44 49 {“Q0”:“1”}
401 49 {“Q0”:“5”}
466 49 {“Q0”:“4”}
453 49 {“Q0”:“6”}
489 49 {“Q0”:“0”}
486 49 {“Q0”:“20”}
511 49 {“Q0”:“12”}
502 49 {“Q0”:“4”}
540 49 {“Q0”:“28”}
545 49 {“Q0”:“4”}
593 49 {“Q0”:“5”}
598 49 {“Q0”:“2”}
556 49 {“Q0”:“26”}
617 49 {“Q0”:“8”}
621 49 {“Q0”:“4”}
670 49 {“Q0”:“25”}
747 49 {“Q0”:“29”}
824 49 {“Q0”:“14”}
815 49 {“Q0”:“23”}
695 49 {“Q0”:“20”}
769 49 {“Q0”:“10 years”}
841 49 {“Q0”:“2”}
887 49 {“Q0”:“19”}
830 49 {“Q0”:“4”}
900 49 {“Q0”:“42 years”}
896 49 {“Q0”:“30”}
974 49 {“Q0”:“33”}
989 49 {“Q0”:“20”}
954 49 {“Q0”:“20”}
922 49 {“Q0”:“15”}

text

System Learned Student

run_id trial_index response
1011 50 {“Colors”:[“Moveable-Do (La-based minor)”,“Letter names”]}
1079 50 {“Colors”:[“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
1061 50 {“Colors”:[“Fixed-Do without inflections”]}
1071 50 {“Colors”:[“Moveable-Do (La-based minor)”,“Curwen or Kodaly hand symbols”]}
1081 50 {“Colors”:[“Letter names”]}
112 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Letter names”]}
1095 50 {“Colors”:[“Scale-degree numbers without inflections”]}
1129 50 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}
1207 50 {“Colors”:[“Scale-degree numbers without inflections”]}
1139 50 {“Colors”:[“Fixed-Do with inflections”,“Letter names”]}
1194 50 {“Colors”:[“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1307 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1446 50 {“Colors”:[“Fixed-Do with inflections”]}
1501 50 {“Colors”:[“Fixed-Do with inflections”]}
15 50 {“Colors”:[“Letter names”]}
1480 50 {“Colors”:[“Fixed-Do with inflections”]}
1521 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1588 50 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do with inflections”,“Curwen or Kodaly hand symbols”]}
1665 50 {“Colors”:[“No Response”]}
1616 50 {“Colors”:[“Fixed-Do with inflections”]}
1677 50 {“Colors”:[“Letter names”]}
1675 50 {“Colors”:[“Fixed-Do with inflections”,“Fixed-Do without inflections”]}
1707 50 {“Colors”:[“No Response”]}
1678 50 {“Colors”:[“Fixed-Do without inflections”]}
1729 50 {“Colors”:[“Fixed-Do with inflections”,“Fixed-Do without inflections”]}
1727 50 {“Colors”:[“Fixed-Do without inflections”]}
1706 50 {“Colors”:[“Fixed-Do with inflections”]}
173 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”,“Letter names”]}
216 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
226 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
285 50 {“Colors”:[“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
295 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
303 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”]}
288 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
291 50 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”]}
319 50 {“Colors”:[“Moveable-Do (La-based minor)”]}
32 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
313 50 {“Colors”:[“No Response”]}
366 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”]}
360 50 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do without inflections”]}
371 50 {“Colors”:[“Moveable-Do (La-based minor)”,“Letter names”]}
386 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”]}
427 50 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}
395 50 {“Colors”:[“Scale-degree numbers without inflections”]}
44 50 {“Colors”:[“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Letter names”]}
401 50 {“Colors”:[“No Response”]}
466 50 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”,“Letter names”]}
453 50 {“Colors”:[“No Response”]}
489 50 {“Colors”:[“Scale-degree numbers without inflections”]}
486 50 {“Colors”:[“Scale-degree numbers with inflections”,“Scale-degree numbers without inflections”,“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”,“Letter names”]}
511 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
502 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
540 50 {“Colors”:[“Fixed-Do without inflections”]}
545 50 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
593 50 {“Colors”:[“Moveable-Do (La-based minor)”]}
598 50 {“Colors”:[“Fixed-Do with inflections”]}
556 50 {“Colors”:[“Scale-degree numbers without inflections”]}
617 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Letter names”]}
621 50 {“Colors”:[“Fixed-Do without inflections”]}
670 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
747 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}
824 50 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”,“Letter names”]}
815 50 {“Colors”:[“Moveable-Do (La-based minor)”]}
695 50 {“Colors”:[“Moveable-Do (La-based minor)”]}
769 50 {“Colors”:[“Fixed-Do without inflections”,“German letter names”]}
841 50 {“Colors”:[“Scale-degree numbers without inflections”]}
887 50 {“Colors”:[“Letter names”]}
830 50 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
900 50 {“Colors”:[“Moveable-Do (La-based minor)”,“Curwen or Kodaly hand symbols”]}
896 50 {“Colors”:[“Scale-degree numbers with inflections”]}
974 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”,“Letter names”]}
989 50 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (La-based minor)”,“Fixed-Do with inflections”,“Letter names”]}
954 50 {“Colors”:[“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
922 50 {“Colors”:[“Moveable-Do (Do-based minor)”]}

text

Country Learned Student

run_id trial_index response
1011 51 {“Q0”:“California, USA”}
1079 51 {“Q0”:“Ann Arbor, MI, USA. / Paris, France”}
1061 51 {“Q0”:“In a conservatory”}
1071 51 {“Q0”:“Atlanta, Ga”}
1081 51 {“Q0”:“Madison, WI, USA”}
112 51 {“Q0”:“Princeton, NJ, USA”}
1095 51 {“Q0”:“Bloomington, IN, USA”}
1129 51 {“Q0”:“Nebraska, USA”}
1207 51 {“Q0”:“Lexington, KY, USA”}
1139 51 {“Q0”:“Mainland China and Hong Kong SAR”}
1194 51 {“Q0”:“St. Louis, MO and Chicago, IL USA”}
1307 51 {“Q0”:“Toronto, Ontario, Canada”}
1446 51 {“Q0”:“Bejing,China”}
1501 51 {“Q0”:“bei jing”}
15 51 {“Q0”:“asdfasdf”}
1480 51 {“Q0”:“Beijing”}
1521 51 {“Q0”:“牡丹江”}
1588 51 {“Q0”:“beijing,CHINA”}
1665 51 {“Q0”:“Beijing, China”}
1616 51 {“Q0”:“wuhan hubei china”}
1677 51 {“Q0”:“Beijing, China”}
1675 51 {“Q0”:“Beijing,China”}
1707 51 {“Q0”:“Beijing China”}
1678 51 {“Q0”:“Beijing,China”}
1729 51 {“Q0”:“beijing, China”}
1727 51 {“Q0”:“Beijing”}
1706 51 {“Q0”:“Wuhan, Hubei, China”}
173 51 {“Q0”:“West Hartford, CT; Oberlin, OH”}
216 51 {“Q0”:“Durham, NC, USA”}
226 51 {“Q0”:“Pocatello, Idaho, USA”}
285 51 {“Q0”:“Logan, UT (la-based minor)/Eugene, OR (do-based minor)”}
295 51 {“Q0”:“Denton, TX, USA”}
303 51 {“Q0”:“Des Moines, IA, USa”}
288 51 {“Q0”:“Kingston, Ontario, Canada”}
291 51 {“Q0”:“Rochester, NY, USA”}
319 51 {“Q0”:“Victoria, British Columbia, Canada”}
32 51 {“Q0”:“Baltimore, Maryland, USA”}
313 51 {“Q0”:“I was not taught a system. Truly.”}
366 51 {“Q0”:“Greeley, Colorado, United States of America”}
360 51 {“Q0”:“Cornell University and Fontainbleau, France”}
371 51 {“Q0”:“Oberlin OH”}
386 51 {“Q0”:“usa”}
427 51 {“Q0”:“University of Illinois at Urbana-Champaign; University of Minnesota Twin Cities”}
395 51 {“Q0”:“Kirksville, MO, USA”}
44 51 {“Q0”:“New Brunswick, New Jersey, USA”}
401 51 {“Q0”:“Ypsilanti, MI”}
466 51 {“Q0”:“Multiple places; liberal arts undergrad, conservatory-style PhD program”}
453 51 {“Q0”:“N/A”}
489 51 {“Q0”:“New York, New York”}
486 51 {“Q0”:“Appleton, Wisconsin, USA”}
511 51 {“Q0”:“Actually technically we didn’t use any such system at my undergrad institution, which didn’t focus on aural skills at all. But I learned moveable-do (not sure we ever did anything minor…) as a young kid in a small town in Iowa.”}
502 51 {“Q0”:“Texas, US”}
540 51 {“Q0”:“Baltimore, Maryland, USA”}
545 51 {“Q0”:“Boston, MA, USA”}
593 51 {“Q0”:“Northfield, Minnesota, USA”}
598 51 {“Q0”:“Quebec, Canada”}
556 51 {“Q0”:“Denton, TX, USA”}
617 51 {“Q0”:“Through osmosis, really…”}
621 51 {“Q0”:“New York”}
670 51 {“Q0”:“Athens, Ohio, USA”}
747 51 {“Q0”:“Allentown, PA (high school)”}
824 51 {“Q0”:“Boston”}
815 51 {“Q0”:“New York, NY”}
695 51 {“Q0”:“Minnesota”}
769 51 {“Q0”:“Nagoya, Japan”}
841 51 {“Q0”:“Pittsburgh, PA”}
887 51 {“Q0”:“North East England, UK”}
830 51 {“Q0”:“Varied: Do-based minor as child, Fixed in UGD, #s in grad training”}
900 51 {“Q0”:“Malta”}
896 51 {“Q0”:“North Carolina”}
989 51 {“Q0”:“Oberlin, OH, USA”}
954 51 {“Q0”:“Kawasaki, Japan; Eugene, OR, USA”}
922 51 {“Q0”:“Chapel Hill, NC”}

text

Prefer to Teach

run_id trial_index response
1011 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
1079 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1061 52 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”]}
1071 52 {“Colors”:[“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1081 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
112 52 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Fixed-Do with inflections”,“Curwen or Kodaly hand symbols”,“Letter names”]}
1095 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1129 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1207 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1139 52 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Fixed-Do with inflections”,“Fixed-Do without inflections”]}
1194 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1307 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1446 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (La-based minor)”,“Fixed-Do with inflections”]}
1501 52 {“Colors”:[“Fixed-Do with inflections”]}
15 52 {“Colors”:[“Curwen or Kodaly hand symbols”]}
1480 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (La-based minor)”,“Fixed-Do with inflections”]}
1521 52 {“Colors”:[“Fixed-Do with inflections”]}
1588 52 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do with inflections”]}
1665 52 {“Colors”:[“No Response”]}
1616 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (La-based minor)”,“Fixed-Do with inflections”]}
1677 52 {“Colors”:[“Letter names”]}
1675 52 {“Colors”:[“Fixed-Do with inflections”,“Fixed-Do without inflections”]}
1707 52 {“Colors”:[“Fixed-Do with inflections”]}
1678 52 {“Colors”:[“Moveable-Do (La-based minor)”,“Fixed-Do without inflections”]}
1729 52 {“Colors”:[“Moveable-Do (La-based minor)”,“Fixed-Do with inflections”]}
1727 52 {“Colors”:[“Scale-degree numbers with inflections”,“Scale-degree numbers without inflections”,“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
1706 52 {“Colors”:[“Scale-degree numbers with inflections”]}
173 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
216 52 {“Colors”:[“Scale-degree numbers with inflections”]}
226 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
285 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
295 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
303 52 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”]}
288 52 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Letter names”]}
291 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Letter names”]}
319 52 {“Colors”:[“No Response”]}
32 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
313 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“German letter names”]}
366 52 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”]}
360 52 {“Colors”:[“Scale-degree numbers without inflections”]}
371 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
386 52 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do with inflections”,“Letter names”]}
427 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
395 52 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”]}
44 52 {“Colors”:[“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Letter names”]}
401 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}
466 52 {“Colors”:[“Fixed-Do without inflections”]}
453 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}
489 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
486 52 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Letter names”]}
511 52 {“Colors”:[“Scale-degree numbers with inflections”,“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”]}
502 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
540 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
545 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”,“Letter names”]}
593 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
598 52 {“Colors”:[“No Response”]}
556 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
617 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}
621 52 {“Colors”:[“Fixed-Do without inflections”]}
670 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}
747 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
824 52 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”,“Letter names”]}
815 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
695 52 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (La-based minor)”]}
769 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
841 52 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”,“Letter names”]}
887 52 {“Colors”:[“Scale-degree numbers with inflections”,“Curwen or Kodaly hand symbols”]}
830 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}
900 52 {“Colors”:[“Moveable-Do (La-based minor)”,“Curwen or Kodaly hand symbols”]}
896 52 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
974 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”,“Fixed-Do with inflections”,“Letter names”]}
989 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
954 52 {“Colors”:[“Moveable-Do (Do-based minor)”]}
922 52 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”]}

text

System Teach @ Current Inst

run_id trial_index response
1011 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
1079 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1061 53 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”]}
1071 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1081 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
112 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1095 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1129 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1207 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1139 53 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
1194 53 {“Colors”:[“Scale-degree numbers with inflections”,“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
1307 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
1446 53 {“Colors”:[“Fixed-Do with inflections”]}
1501 53 {“Colors”:[“Fixed-Do with inflections”]}
15 53 {“Colors”:[“Fixed-Do with inflections”]}
1480 53 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do with inflections”]}
1521 53 {“Colors”:[“Fixed-Do with inflections”]}
1588 53 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do with inflections”]}
1665 53 {“Colors”:[“Moveable-Do (La-based minor)”]}
1616 53 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do with inflections”,“Letter names”]}
1677 53 {“Colors”:[“Scale-degree numbers with inflections”]}
1675 53 {“Colors”:[“Fixed-Do with inflections”,“Fixed-Do without inflections”]}
1707 53 {“Colors”:[“No Response”]}
1678 53 {“Colors”:[“Moveable-Do (La-based minor)”,“Fixed-Do without inflections”]}
1729 53 {“Colors”:[“Fixed-Do with inflections”]}
1727 53 {“Colors”:[“Scale-degree numbers with inflections”,“Scale-degree numbers without inflections”,“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
1706 53 {“Colors”:[“Scale-degree numbers with inflections”,“Fixed-Do with inflections”]}
173 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
216 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
226 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
285 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
295 53 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”]}
303 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
288 53 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”,“Letter names”]}
291 53 {“Colors”:[“Scale-degree numbers with inflections”,“Letter names”]}
319 53 {“Colors”:[“Scale-degree numbers with inflections”]}
32 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
313 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“German letter names”]}
366 53 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (Do-based minor)”]}
360 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
371 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
386 53 {“Colors”:[“Scale-degree numbers with inflections”,“Letter names”]}
427 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
395 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
44 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”,“Letter names”]}
401 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
466 53 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”]}
453 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
489 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
486 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
511 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
502 53 {“Colors”:[“No Response”]}
540 53 {“Colors”:[“Moveable-Do (La-based minor)”,“Moveable-Do (Do-based minor)”,“Fixed-Do without inflections”]}
545 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
593 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Curwen or Kodaly hand symbols”]}
598 53 {“Colors”:[“No Response”]}
556 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
617 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
621 53 {“Colors”:[“Fixed-Do without inflections”]}
670 53 {“Colors”:[“Scale-degree numbers without inflections”,“Letter names”]}
747 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
824 53 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”,“Letter names”]}
815 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
695 53 {“Colors”:[“Scale-degree numbers without inflections”,“Moveable-Do (La-based minor)”]}
769 53 {“Colors”:[“Moveable-Do (Do-based minor)”,“Letter names”]}
841 53 {“Colors”:[“Scale-degree numbers without inflections”,“Fixed-Do without inflections”]}
887 53 {“Colors”:[“Scale-degree numbers with inflections”,“Curwen or Kodaly hand symbols”]}
830 53 {“Colors”:[“No Response”]}
900 53 {“Colors”:[“Moveable-Do (La-based minor)”,“Curwen or Kodaly hand symbols”]}
896 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
974 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
989 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
954 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}
922 53 {“Colors”:[“Moveable-Do (Do-based minor)”]}

text

Num Students / Class

run_id trial_index response
1011 54 {“Q0”:“22”}
1079 54 {“Q0”:“12”}
1061 54 {“Q0”:“8-10”}
1071 54 {“Q0”:“0”}
1081 54 {“Q0”:“20”}
112 54 {“Q0”:“30”}
1095 54 {“Q0”:“20”}
1129 54 {“Q0”:“12”}
1207 54 {“Q0”:“15”}
1139 54 {“Q0”:“15”}
1194 54 {“Q0”:“20”}
1307 54 {“Q0”:“15”}
1446 54 {“Q0”:“15-20”}
1501 54 {“Q0”:“20”}
15 54 {“Q0”:“asdfa”}
1480 54 {“Q0”:“20”}
1521 54 {“Q0”:“5”}
1588 54 {“Q0”:“20-25”}
1665 54 {“Q0”:“20”}
1616 54 {“Q0”:“1000”}
1677 54 {“Q0”:“10”}
1675 54 {“Q0”:“30”}
1707 54 {“Q0”:“20”}
1678 54 {“Q0”:“20”}
1729 54 {“Q0”:“23”}
1727 54 {“Q0”:“15-30”}
1706 54 {“Q0”:“25”}
173 54 {“Q0”:“25”}
216 54 {“Q0”:“15”}
226 54 {“Q0”:“12”}
285 54 {“Q0”:“12”}
295 54 {“Q0”:“10”}
303 54 {“Q0”:“25”}
288 54 {“Q0”:“10”}
291 54 {“Q0”:“24”}
319 54 {“Q0”:“10”}
32 54 {“Q0”:“15”}
313 54 {“Q0”:“17”}
366 54 {“Q0”:“15”}
360 54 {“Q0”:“14”}
371 54 {“Q0”:“15”}
386 54 {“Q0”:“12”}
427 54 {“Q0”:“10”}
395 54 {“Q0”:“15”}
44 54 {“Q0”:“20”}
401 54 {“Q0”:“60”}
466 54 {“Q0”:“10”}
453 54 {“Q0”:“13”}
489 54 {“Q0”:“12”}
486 54 {“Q0”:“12”}
511 54 {“Q0”:“35 (AS 3)–60 (AS 1)”}
502 54 {“Q0”:“15”}
540 54 {“Q0”:“5”}
545 54 {“Q0”:“17”}
593 54 {“Q0”:“20”}
598 54 {“Q0”:“15”}
556 54 {“Q0”:“17”}
617 54 {“Q0”:“3”}
621 54 {“Q0”:“8”}
670 54 {“Q0”:“18”}
747 54 {“Q0”:“20”}
824 54 {“Q0”:“18”}
815 54 {“Q0”:“15”}
695 54 {“Q0”:“18”}
769 54 {“Q0”:“10”}
841 54 {“Q0”:“10”}
887 54 {“Q0”:“30”}
830 54 {“Q0”:“N/A”}
900 54 {“Q0”:“15”}
896 54 {“Q0”:“18”}
974 54 {“Q0”:“15”}
989 54 {“Q0”:“20”}
954 54 {“Q0”:“18”}
922 54 {“Q0”:“18”}

How many students are typically enrolled in one of your aural skills classes (or sections)?

Misc Tracking

run_id trial_index response
1011 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1079 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1061 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1071 55 {“theory_track_01”:“No”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“No”}
1081 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
112 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1095 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1129 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1207 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1139 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1194 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1307 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1446 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Not Sure”}
1501 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Not Sure”}
15 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“No”}
1480 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1521 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“No”}
1588 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Not Sure”}
1665 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1616 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1677 55 {“theory_track_01”:“No”,“pitch_mem_02”:“Yes”,“score_transp_03”:“No”}
1675 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Applicable”,“score_transp_03”:“No”}
1707 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1678 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1729 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“NR”}
1727 55 {“theory_track_01”:“No”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1706 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
173 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
216 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
226 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
285 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
295 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
303 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
288 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Not Sure”}
291 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
319 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“Not Sure”}
32 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
313 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
366 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
360 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
371 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
386 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
427 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
395 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
44 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
401 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
466 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
453 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
489 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
486 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
511 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
502 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
540 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
545 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“Not Applicable”,“score_transp_03”:“No”}
593 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
598 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
556 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
617 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
621 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
670 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
747 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
824 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
815 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
695 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
769 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
841 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“NR”,“score_transp_03”:“Not Sure”}
887 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
830 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Applicable”,“score_transp_03”:“Not Sure”}
900 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
896 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
974 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
989 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
954 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
922 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}

asdf

Misc Tracking

run_id trial_index response
1011 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1079 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1061 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1071 55 {“theory_track_01”:“No”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“No”}
1081 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
112 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1095 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1129 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1207 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1139 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1194 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1307 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
1446 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Not Sure”}
1501 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Not Sure”}
15 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“No”}
1480 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1521 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“No”}
1588 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Not Sure”}
1665 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1616 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1677 55 {“theory_track_01”:“No”,“pitch_mem_02”:“Yes”,“score_transp_03”:“No”}
1675 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Applicable”,“score_transp_03”:“No”}
1707 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1678 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
1729 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Yes”,“score_transp_03”:“NR”}
1727 55 {“theory_track_01”:“No”,“pitch_mem_02”:“Yes”,“score_transp_03”:“Yes”}
1706 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
173 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
216 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
226 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
285 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
295 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
303 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
288 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Not Sure”}
291 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
319 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Sure”,“score_transp_03”:“Not Sure”}
32 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
313 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
366 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
360 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
371 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
386 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
427 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
395 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
44 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
401 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
466 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
453 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
489 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
486 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
511 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
502 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
540 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
545 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“Not Applicable”,“score_transp_03”:“No”}
593 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
598 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
556 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
617 55 {“theory_track_01”:“Not Sure”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
621 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
670 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
747 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
824 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
815 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
695 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
769 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
841 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“NR”,“score_transp_03”:“Not Sure”}
887 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
830 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“Not Applicable”,“score_transp_03”:“Not Sure”}
900 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
896 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
974 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“Yes”}
989 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
954 55 {“theory_track_01”:“Yes”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}
922 55 {“theory_track_01”:“No”,“pitch_mem_02”:“No”,“score_transp_03”:“No”}

asdf

Current Inst Type

run_id trial_index response
1011 56 {“Colors”:[“Private college or university”,“Music Department within a liberal arts college”,“NASM-accredited music program”]}
1079 56 {“Colors”:[“Private college or university”,“Public college or university”,“Music Department within a university”,“NASM-accredited music program”]}
1061 56 {“Colors”:[“Private college or university”,“Conservatory-style professional music school (within a university)”]}
1071 56 {“Colors”:[“Private college or university”,“Music Department within a liberal arts college”,“Music Department within a university”,“NASM-accredited music program”]}
1081 56 {“Colors”:[“Music Department within a university”,“NASM-accredited music program”]}
112 56 {“Colors”:[“Public college or university”,“Music Department within a university”,“NASM-accredited music program”]}
1095 56 {“Colors”:[“Music Department within a university”,“NASM-accredited music program”]}
1129 56 {“Colors”:[“Private college or university”,“Music Department within a liberal arts college”]}
1207 56 {“Colors”:[“Public college or university”]}
1139 56 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
1194 56 {“Colors”:[“Private college or university”]}
1307 56 {“Colors”:[“Public college or university”,“Conservatory-style professional music school (within a university)”,“Music Department within a university”]}
1446 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1501 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
15 56 {“Colors”:[“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
1480 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1521 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1588 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1665 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1616 56 {“Colors”:[“Private college or university”,“Conservatory-style professional music school (stand-alone)”]}
1677 56 {“Colors”:[“Community Music School”]}
1675 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1707 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1678 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1729 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1727 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
1706 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
173 56 {“Colors”:[“Public college or university”,“Music Department within a liberal arts college”,“NASM-accredited music program”]}
216 56 {“Colors”:[“Public college or university”,“Music Department within a university”]}
226 56 {“Colors”:[“Public college or university”,“Music Department within a university”,“NASM-accredited music program”]}
285 56 {“Colors”:[“Public college or university”,“NASM-accredited music program”,“Community College (2-year)”]}
295 56 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
303 56 {“Colors”:[“Public college or university”,“Music Department within a university”]}
288 56 {“Colors”:[“Public college or university”,“Music Department within a university”,“NASM-accredited music program”]}
291 56 {“Colors”:[“Public college or university”]}
319 56 {“Colors”:[“Public college or university”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
32 56 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
313 56 {“Colors”:[“Public college or university”,“Music Department within a university”]}
366 56 {“Colors”:[“Private college or university”,“Music Department within a liberal arts college”,“Music Department within a university”,“NASM-accredited music program”]}
360 56 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
371 56 {“Colors”:[“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
386 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
427 56 {“Colors”:[“I do not currently teach”]}
395 56 {“Colors”:[“Private college or university”,“Conservatory-style professional music school (within a university)”,“Music Department within a liberal arts college”]}
44 56 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
401 56 {“Colors”:[“Private college or university”,“Music Department within a university”,“NASM-accredited music program”]}
466 56 {“Colors”:[“Private college or university”,“Conservatory-style professional music school (stand-alone)”]}
453 56 {“Colors”:[“Public college or university”]}
489 56 {“Colors”:[“Private college or university”,“Music Department within a university”,“NASM-accredited music program”]}
486 56 {“Colors”:[“Private college or university”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
511 56 {“Colors”:[“Public college or university”]}
502 56 {“Colors”:[“Public college or university”,“Music Department within a university”,“NASM-accredited music program”,“Community College (2-year)”,“I do not currently teach”]}
540 56 {“Colors”:[“I do not currently teach”]}
545 56 {“Colors”:[“Private college or university”,“Music Department within a university”]}
593 56 {“Colors”:[“Public college or university”,“Music Department within a university”,“NASM-accredited music program”]}
598 56 {“Colors”:[“Public college or university”]}
556 56 {“Colors”:[“Public college or university”]}
617 56 {“Colors”:[“Private college or university”,“NASM-accredited music program”]}
621 56 {“Colors”:[“Conservatory-style professional music school (stand-alone)”]}
670 56 {“Colors”:[“Private college or university”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
747 56 {“Colors”:[“Public college or university”,“Conservatory-style professional music school (within a university)”,“NASM-accredited music program”]}
824 56 {“Colors”:[“Public college or university”,“Conservatory-style professional music school (within a university)”]}
815 56 {“Colors”:[“Public college or university”]}
695 56 {“Colors”:[“Public college or university”]}
769 56 {“Colors”:[“Public college or university”,“Music Department within a university”,“NASM-accredited music program”]}
841 56 {“Colors”:[“Conservatory-style professional music school (within a university)”]}
887 56 {“Colors”:[“Music Department within a university”]}
830 56 {“Colors”:[“I do not currently teach”]}
900 56 {“Colors”:[“Community Music School”]}
896 56 {“Colors”:[“Private college or university”,“Music Department within a university”,“NASM-accredited music program”]}
974 56 {“Colors”:[“Public college or university”,“NASM-accredited music program”]}
989 56 {“Colors”:[“Public college or university”,“Music Department within a university”,“NASM-accredited music program”]}
954 56 {“Colors”:[“Music Department within a liberal arts college”]}
922 56 {“Colors”:[“Public college or university”]}

asdf

Number of Music Majors

run_id trial_index response
1011 57 {“Q0”:“220”}
1079 57 {“Q0”:“300”}
1061 57 {“Q0”:“400”}
1071 57 {“Q0”:“750”}
1081 57 {“Q0”:“420”}
112 57 {“Q0”:“400”}
1095 57 {“Q0”:“500”}
1129 57 {“Q0”:“30”}
1207 57 {“Q0”:“300”}
1139 57 {“Q0”:“1000”}
1194 57 {“Q0”:“25”}
1307 57 {“Q0”:“300”}
1446 57 {“Q0”:“1-5”}
1501 57 {“Q0”:“5”}
15 57 {“Q0”:“asdfasf”}
1480 57 {“Q0”:“800”}
1521 57 {“Q0”:“1”}
1588 57 {“Q0”:“No Response”}
1665 57 {“Q0”:“7”}
1616 57 {“Q0”:“500”}
1677 57 {“Q0”:“0”}
1675 57 {“Q0”:“No Response”}
1707 57 {“Q0”:“1000”}
1678 57 {“Q0”:“20”}
1729 57 {“Q0”:“20-30”}
1727 57 {“Q0”:“150”}
1706 57 {“Q0”:“3”}
173 57 {“Q0”:“300”}
216 57 {“Q0”:“40”}
226 57 {“Q0”:“260”}
285 57 {“Q0”:“25”}
295 57 {“Q0”:“900”}
303 57 {“Q0”:“380”}
288 57 {“Q0”:“110”}
291 57 {“Q0”:“1250”}
319 57 {“Q0”:“1000+”}
32 57 {“Q0”:“750”}
313 57 {“Q0”:“150”}
366 57 {“Q0”:“75”}
360 57 {“Q0”:“450”}
371 57 {“Q0”:“425”}
386 57 {“Q0”:“a conseervatory – all of them”}
427 57 {“Q0”:“I’m not sure”}
395 57 {“Q0”:“350”}
44 57 {“Q0”:“600”}
401 57 {“Q0”:“200”}
466 57 {“Q0”:“500”}
453 57 {“Q0”:“600”}
489 57 {“Q0”:“60”}
486 57 {“Q0”:“120”}
511 57 {“Q0”:“250”}
502 57 {“Q0”:“250”}
540 57 {“Q0”:“10”}
545 57 {“Q0”:“200”}
593 57 {“Q0”:“220”}
598 57 {“Q0”:“750”}
556 57 {“Q0”:“500”}
617 57 {“Q0”:“~15”}
621 57 {“Q0”:“900”}
670 57 {“Q0”:“275”}
747 57 {“Q0”:“550”}
824 57 {“Q0”:“No Response”}
815 57 {“Q0”:“300-350?”}
695 57 {“Q0”:“300”}
769 57 {“Q0”:“50”}
841 57 {“Q0”:“1000”}
887 57 {“Q0”:“87”}
830 57 {“Q0”:“no response”}
900 57 {“Q0”:“No response”}
896 57 {“Q0”:“800”}
974 57 {“Q0”:“350”}
989 57 {“Q0”:“190”}
954 57 {“Q0”:“100”}
922 57 {“Q0”:“500”}

asdf

Degrees Offered

run_id trial_index response
1011 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
1079 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”]}
1061 58 {“Colors”:[“Bachelor of Music (BM)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”]}
1071 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
1081 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”]}
112 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Music (BM)”,“Masters (MM)”,“Doctorate (DMA or DM)”]}
1095 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”]}
1129 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”]}
1207 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1139 58 {“Colors”:[“Certificate (e.g. Recording Arts, Songwriting)”,“Undergraduate music minor”,“Bachelor of Music (BM)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1194 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”]}
1307 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1446 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1501 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”]}
15 58 {“Colors”:[“Bachelor of Arts (BA)”]}
1480 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1521 58 {“Colors”:[“Bachelor of Arts (BA)”]}
1588 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1665 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1616 58 {“Colors”:[“AP Music Theory Classes”,“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”]}
1677 58 {“Colors”:[“My school does not offer any music degree credentials”]}
1675 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”]}
1707 58 {“Colors”:[“My school does not offer any music degree credentials”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1678 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1729 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1727 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
1706 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
173 58 {“Colors”:[“Certificate (e.g. Recording Arts, Songwriting)”,“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
216 58 {“Colors”:[“Bachelor of Arts (BA)”]}
226 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Music (BM)”,“Masters (MM)”]}
285 58 {“Colors”:[“Associate’s degree (AA)”]}
295 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
303 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
288 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”]}
291 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MA)”]}
319 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
32 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”]}
313 58 {“Colors”:[“Bachelor of Music (BM)”,“Masters (MM)”,“Doctorate (Ph.D.)”]}
366 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
360 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
371 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
386 58 {“Colors”:[“Bachelor of Music (BM)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”]}
427 58 {“Colors”:[“No Response”]}
395 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
44 58 {“Colors”:[“Bachelor of Music (BM)”,“Masters (MM)”,“Doctorate (DMA or DM)”]}
401 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
466 58 {“Colors”:[“My school does not offer any music degree credentials”,“Certificate (e.g. Recording Arts, Songwriting)”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
453 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
489 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
486 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
511 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
502 58 {“Colors”:[“Certificate (e.g. Recording Arts, Songwriting)”,“Undergraduate music minor”,“Bachelor of Music (BM)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
540 58 {“Colors”:[“Associate’s degree (AA)”]}
545 58 {“Colors”:[“Bachelor of Arts (BA)”]}
593 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
598 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
556 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”]}
617 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
621 58 {“Colors”:[“Bachelor of Music (BM)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”]}
670 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
747 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
824 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
815 58 {“Colors”:[“Bachelor of Music (BM)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”]}
695 58 {“Colors”:[“Certificate (e.g. Recording Arts, Songwriting)”,“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
769 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”]}
841 58 {“Colors”:[“Bachelor of Music (BM)”,“Masters (MA)”,“Masters (MM)”,“Performer’s Certificate/Graduate Performance Diploma”,“Doctorate (DMA or DM)”,“Doctorate (Ph.D.)”]}
887 58 {“Colors”:[“Bachelor of Arts (BA)”,“Masters (MM)”,“Doctorate (Ph.D.)”]}
830 58 {“Colors”:[“Certificate (e.g. Recording Arts, Songwriting)”,“Undergraduate music minor”,“Bachelor of Music (BM)”,“Masters (MM)”]}
900 58 {“Colors”:[“My school does not offer any music degree credentials”]}
896 58 {“Colors”:[“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
974 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
989 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Arts (BA)”,“Bachelor of Music (BM)”,“Masters (MM)”]}
954 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Music (BM)”]}
922 58 {“Colors”:[“Undergraduate music minor”,“Bachelor of Music (BM)”,“Masters (MM)”]}

asdf

Rank Aural Teachers

run_id trial_index response
1011 59 {“Colors”:[“Part-time adjuncts”,“Full-time non-tenure eligible”]}
1079 59 {“Colors”:[“Full-time non-tenure eligible”,“Full-time tenure eligible”,“Full-time tenured”]}
1061 59 {“Colors”:[“Part-time adjuncts”]}
1071 59 {“Colors”:[“Part-time adjuncts”,“Full-time non-tenure eligible”]}
1081 59 {“Colors”:[“Full-time tenured”]}
112 59 {“Colors”:[“Part-time adjuncts”,“Full-time non-tenure eligible”]}
1095 59 {“Colors”:[“Full-time tenured”]}
1129 59 {“Colors”:[“Full-time tenured”]}
1207 59 {“Colors”:[“Graduate student (teaching assistants)”]}
1139 59 {“Colors”:[“Graduate student (teaching assistants)”]}
1194 59 {“Colors”:[“Full-time tenured”]}
1307 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”,“Full-time tenured”]}
1446 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1501 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
15 59 {“Colors”:[“Part-time adjuncts”]}
1480 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1521 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1588 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1665 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1616 59 {“Colors”:[“Full-time non-tenure eligible”]}
1677 59 {“Colors”:[“Full-time tenure eligible”]}
1675 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”]}
1707 59 {“Colors”:[“Full-time tenured”]}
1678 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1729 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1727 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”]}
1706 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”,“Full-time tenured”]}
173 59 {“Colors”:[“Part-time adjuncts”,“Full-time tenure eligible”,“Full-time tenured”]}
216 59 {“Colors”:[“Full-time tenured”]}
226 59 {“Colors”:[“Full-time tenure eligible”]}
285 59 {“Colors”:[“Full-time tenured”]}
295 59 {“Colors”:[“Graduate student (teaching assistants)”,“Full-time tenure eligible”]}
303 59 {“Colors”:[“Full-time tenured”]}
288 59 {“Colors”:[“Full-time non-tenure eligible”]}
291 59 {“Colors”:[“Part-time adjuncts”]}
319 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”]}
32 59 {“Colors”:[“No Response”]}
313 59 {“Colors”:[“Part-time adjuncts”,“Full-time tenured”]}
366 59 {“Colors”:[“Full-time non-tenure eligible”]}
360 59 {“Colors”:[“Full-time non-tenure eligible”]}
371 59 {“Colors”:[“Full-time tenured”]}
386 59 {“Colors”:[“Part-time adjuncts”]}
427 59 {“Colors”:[“No Response”]}
395 59 {“Colors”:[“Full-time non-tenure eligible”,“Full-time tenure eligible”,“Full-time tenured”]}
44 59 {“Colors”:[“Graduate student (teaching assistants)”,“Full-time tenure eligible”,“Full-time tenured”]}
401 59 {“Colors”:[“Full-time tenure eligible”]}
466 59 {“Colors”:[“Graduate student (teaching assistants)”,“Full-time tenure eligible”,“Full-time tenured”]}
453 59 {“Colors”:[“Full-time tenure eligible”,“Full-time tenured”]}
489 59 {“Colors”:[“Full-time tenured”]}
486 59 {“Colors”:[“Full-time tenure eligible”,“Full-time tenured”]}
511 59 {“Colors”:[“Full-time tenure eligible”]}
502 59 {“Colors”:[“Graduate student (teaching assistants)”,“Full-time non-tenure eligible”]}
540 59 {“Colors”:[“Full-time tenured”]}
545 59 {“Colors”:[“Full-time non-tenure eligible”]}
593 59 {“Colors”:[“Full-time non-tenure eligible”]}
598 59 {“Colors”:[“No Response”]}
556 59 {“Colors”:[“Full-time non-tenure eligible”]}
617 59 {“Colors”:[“Part-time adjuncts”,“Full-time tenured”]}
621 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”]}
670 59 {“Colors”:[“Full-time tenured”]}
747 59 {“Colors”:[“Full-time tenured”]}
824 59 {“Colors”:[“Graduate student (teaching assistants)”]}
815 59 {“Colors”:[“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”,“Full-time tenured”]}
695 59 {“Colors”:[“Graduate student (teaching assistants)”,“Full-time tenured”]}
769 59 {“Colors”:[“Full-time tenure eligible”,“Full-time tenured”]}
841 59 {“Colors”:[“Graduate student (teaching assistants)”]}
887 59 {“Colors”:[“Full-time tenured”]}
830 59 {“Colors”:[“No Response”]}
900 59 {“Colors”:[“Part-time adjuncts”]}
896 59 {“Colors”:[“Part-time adjuncts”,“Full-time non-tenure eligible”]}
974 59 {“Colors”:[“Graduate student (teaching assistants)”,“Part-time adjuncts”,“Full-time non-tenure eligible”,“Full-time tenure eligible”,“Full-time tenured”]}
989 59 {“Colors”:[“Full-time tenure eligible”,“Full-time tenured”]}
954 59 {“Colors”:[“Full-time non-tenure eligible”,“Full-time tenure eligible”,“Full-time tenured”]}
922 59 {“Colors”:[“Full-time tenured”]}

asdf

Highest Degree Aural

run_id trial_index response
1011 60 {“Colors”:[“Graduate degree in performance”]}
1079 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1061 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”]}
1071 60 {“Colors”:[“No Response”]}
1081 60 {“Colors”:[“Graduate degree in performance”]}
112 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”]}
1095 60 {“Colors”:[“Undergraduate degree in music education”,“Graduate degree in music theory or composition”]}
1129 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1207 60 {“Colors”:[“Graduate degree in performance”]}
1139 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1194 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1307 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1446 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1501 60 {“Colors”:[“Graduate degree in music theory or composition”]}
15 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1480 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1521 60 {“Colors”:[“Undergraduate degree in music theory or composition”]}
1588 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1665 60 {“Colors”:[“Graduate degree in music theory or composition”,“Graduate degree in music education”]}
1616 60 {“Colors”:[“Undergraduate degree in performance”,“Undergraduate degree in music theory or composition”,“Undergraduate degree in music education”,“Graduate degree in performance”]}
1677 60 {“Colors”:[“Undergraduate degree in music theory or composition”,“Undergraduate degree in music education”,“Graduate degree in performance”,“Graduate degree in music theory or composition”,“Graduate degree in music education”]}
1675 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1707 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1678 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1729 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1727 60 {“Colors”:[“Graduate degree in music theory or composition”]}
1706 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”,“Graduate degree in music education”]}
173 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”,“Graduate degree in music education”]}
216 60 {“Colors”:[“Graduate degree in music theory or composition”]}
226 60 {“Colors”:[“Graduate degree in music theory or composition”]}
285 60 {“Colors”:[“Graduate degree in music theory or composition”]}
295 60 {“Colors”:[“Graduate degree in music theory or composition”]}
303 60 {“Colors”:[“Graduate degree in performance”]}
288 60 {“Colors”:[“Graduate degree in music theory or composition”]}
291 60 {“Colors”:[“Graduate degree in music theory or composition”]}
319 60 {“Colors”:[“Undergraduate degree in performance”,“Undergraduate degree in music theory or composition”,“Graduate degree in music theory or composition”]}
32 60 {“Colors”:[“No Response”]}
313 60 {“Colors”:[“No Response”]}
366 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”]}
360 60 {“Colors”:[“Graduate degree in music theory or composition”]}
371 60 {“Colors”:[“Graduate degree in music theory or composition”]}
386 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”]}
427 60 {“Colors”:[“Graduate degree in music theory or composition”]}
395 60 {“Colors”:[“Graduate degree in music theory or composition”]}
44 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”]}
401 60 {“Colors”:[“Graduate degree in music theory or composition”,“Graduate degree in music education”]}
466 60 {“Colors”:[“Graduate degree in music theory or composition”]}
453 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”]}
489 60 {“Colors”:[“Graduate degree in performance”]}
486 60 {“Colors”:[“Graduate degree in music theory or composition”]}
511 60 {“Colors”:[“Graduate degree in music theory or composition”]}
502 60 {“Colors”:[“Graduate degree in music theory or composition”]}
540 60 {“Colors”:[“Graduate degree in music education”]}
545 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music theory or composition”]}
593 60 {“Colors”:[“Graduate degree in music theory or composition”]}
598 60 {“Colors”:[“Graduate degree in music theory or composition”]}
556 60 {“Colors”:[“Graduate degree in music theory or composition”]}
617 60 {“Colors”:[“Graduate degree in performance”]}
621 60 {“Colors”:[“Graduate degree in music theory or composition”]}
670 60 {“Colors”:[“Graduate degree in music theory or composition”]}
747 60 {“Colors”:[“Graduate degree in music theory or composition”]}
824 60 {“Colors”:[“Undergraduate degree in music theory or composition”,“Graduate degree in music theory or composition”]}
815 60 {“Colors”:[“Graduate degree in music theory or composition”]}
695 60 {“Colors”:[“No Response”]}
769 60 {“Colors”:[“Graduate degree in performance”]}
841 60 {“Colors”:[“Undergraduate degree in performance”,“Graduate degree in music theory or composition”]}
887 60 {“Colors”:[“Graduate degree in music theory or composition”]}
830 60 {“Colors”:[“No Response”]}
900 60 {“Colors”:[“Undergraduate degree in music theory or composition”,“Graduate degree in music theory or composition”]}
896 60 {“Colors”:[“Graduate degree in performance”,“Graduate degree in music education”]}
974 60 {“Colors”:[“Graduate degree in music theory or composition”]}
989 60 {“Colors”:[“Graduate degree in performance”]}
954 60 {“Colors”:[“Graduate degree in performance”]}
922 60 {“Colors”:[“Graduate degree in music theory or composition”]}

asdf

Country Teach

run_id trial_index response
1011 61 {“Q0”:“USA”}
1079 61 {“Q0”:“United States”}
1061 61 {“Q0”:“USA”}
1071 61 {“Q0”:“United States”}
1081 61 {“Q0”:“United States”}
112 61 {“Q0”:“United States”}
1095 61 {“Q0”:“USA”}
1129 61 {“Q0”:“United States”}
1207 61 {“Q0”:“United States”}
1139 61 {“Q0”:“US”}
1194 61 {“Q0”:“United States”}
1307 61 {“Q0”:“United States”}
1446 61 {“Q0”:“China”}
1501 61 {“Q0”:“China”}
15 61 {“Q0”:“asdfasdf”}
1480 61 {“Q0”:“China”}
1521 61 {“Q0”:“北京”}
1588 61 {“Q0”:“China”}
1665 61 {“Q0”:“China”}
1616 61 {“Q0”:“beijing china”}
1677 61 {“Q0”:“China”}
1675 61 {“Q0”:“China”}
1707 61 {“Q0”:“China Beijing”}
1678 61 {“Q0”:“China”}
1729 61 {“Q0”:“China”}
1727 61 {“Q0”:“china”}
1706 61 {“Q0”:“China”}
173 61 {“Q0”:“United States”}
216 61 {“Q0”:“United States”}
226 61 {“Q0”:“United States”}
285 61 {“Q0”:“United States”}
295 61 {“Q0”:“United States”}
303 61 {“Q0”:“US”}
288 61 {“Q0”:“United States”}
291 61 {“Q0”:“United States”}
319 61 {“Q0”:“USA”}
32 61 {“Q0”:“United States”}
313 61 {“Q0”:“North America”}
366 61 {“Q0”:“United States”}
360 61 {“Q0”:“United States”}
371 61 {“Q0”:“United States”}
386 61 {“Q0”:“Uniteed States”}
427 61 {“Q0”:“I don’t teach”}
395 61 {“Q0”:“USA”}
44 61 {“Q0”:“United States”}
401 61 {“Q0”:“usa”}
466 61 {“Q0”:“United States”}
453 61 {“Q0”:“USA”}
489 61 {“Q0”:“United States”}
486 61 {“Q0”:“United States”}
511 61 {“Q0”:“United States”}
502 61 {“Q0”:“US”}
540 61 {“Q0”:“United States”}
545 61 {“Q0”:“USA”}
593 61 {“Q0”:“United States”}
598 61 {“Q0”:“Canada”}
556 61 {“Q0”:“USA”}
617 61 {“Q0”:“United States”}
621 61 {“Q0”:“United States”}
670 61 {“Q0”:“United States”}
747 61 {“Q0”:“United States”}
824 61 {“Q0”:“United States”}
815 61 {“Q0”:“USA”}
695 61 {“Q0”:“U.S.”}
769 61 {“Q0”:“USA”}
841 61 {“Q0”:“US”}
887 61 {“Q0”:“United Kingdom”}
830 61 {“Q0”:“it –WAS– in the U.S.!”}
900 61 {“Q0”:“Malta”}
896 61 {“Q0”:“United States”}
974 61 {“Q0”:“United States”}
989 61 {“Q0”:“United States”}
954 61 {“Q0”:“USA”}
922 61 {“Q0”:“United States”}

asdf

State

run_id trial_index response
1011 62 {“Q0”:“Minnesota”}
1079 62 {“Q0”:“Delaware :)”}
1061 62 {“Q0”:“New York”}
1071 62 {“Q0”:“Tennessee”}
1081 62 {“Q0”:“Michigan”}
112 62 {“Q0”:“Virginia”}
1095 62 {“Q0”:“Ohio”}
1129 62 {“Q0”:“Idaho”}
1207 62 {“Q0”:“South Carolina”}
1139 62 {“Q0”:“NY”}
1194 62 {“Q0”:“Minnesota”}
1307 62 {“Q0”:“Kentucky”}
1446 62 {“Q0”:“Beijing”}
1501 62 {“Q0”:“beijing”}
15 62 {“Q0”:“asdfasf”}
1480 62 {“Q0”:“Beijing”}
1521 62 {“Q0”:“china”}
1588 62 {“Q0”:“beijing”}
1665 62 {“Q0”:“Beijing”}
1616 62 {“Q0”:“beijing shunyi district houshayu town”}
1677 62 {“Q0”:“Beijing”}
1675 62 {“Q0”:“Beijing”}
1707 62 {“Q0”:"}
1678 62 {“Q0”:“Beijing”}
1729 62 {“Q0”:“beijing”}
1727 62 {“Q0”:“Beijing”}
1706 62 {“Q0”:“Hubei”}
173 62 {“Q0”:“For the purposes of these answers: WI”}
216 62 {“Q0”:“New Hampshire”}
226 62 {“Q0”:“Texas”}
285 62 {“Q0”:“Wyoming”}
295 62 {“Q0”:“New York”}
303 62 {“Q0”:“Nebraska”}
288 62 {“Q0”:“Virginia”}
291 62 {“Q0”:“Tennessee”}
319 62 {“Q0”:“Michigan”}
32 62 {“Q0”:“Maryland”}
313 62 {“Q0”:“Eastern side of continent”}
366 62 {“Q0”:“Ohio”}
360 62 {“Q0”:“Maryland”}
371 62 {“Q0”:“New York”}
386 62 {“Q0”:"}
427 62 {“Q0”:“I don’t teach”}
395 62 {“Q0”:“Wisconsin”}
44 62 {“Q0”:“Maryland”}
401 62 {“Q0”:“utah”}
466 62 {“Q0”:“New York”}
453 62 {“Q0”:“Michigan”}
489 62 {“Q0”:“Nebraska”}
486 62 {“Q0”:“Indiana”}
511 62 {“Q0”:“Utah”}
502 62 {“Q0”:“OR”}
540 62 {“Q0”:“Idaho”}
545 62 {“Q0”:“Massachusetts”}
593 62 {“Q0”:“Connecticut”}
598 62 {“Q0”:“Ontario”}
556 62 {“Q0”:“TX”}
617 62 {“Q0”:“Ohio”}
621 62 {“Q0”:“New York”}
670 62 {“Q0”:“Ohio”}
747 62 {“Q0”:“New York”}
824 62 {“Q0”:“Michigan”}
815 62 {“Q0”:“Maryland”}
695 62 {“Q0”:“Minnesota”}
769 62 {“Q0”:“Georgia”}
841 62 {“Q0”:“New York”}
887 62 {“Q0”:“Tyne and Wear”}
830 62 {“Q0”:"}
900 62 {“Q0”:"}
896 62 {“Q0”:“Tennessee”}
974 62 {“Q0”:“Kentucky”}
989 62 {“Q0”:“Connecticut”}
954 62 {“Q0”:“Iowa”}
922 62 {“Q0”:" North Carolina "}

asdf

Feedback

run_id trial_index response
1079 63 {“Q0”:"}
1061 63 {“Q0”:"}
1071 63 {“Q0”:"}
1081 63 {“Q0”:"}
112 63 {“Q0”:"}
1095 63 {“Q0”:“NR”}
1129 63 {“Q0”:"}
1207 63 {“Q0”:"}
1139 63 {“Q0”:"}
1194 63 {“Q0”:“Fun survey!”}
1307 63 {“Q0”:"}
1446 63 {“Q0”:“It is perfect! very specific and comprehensive from every detail! excellent job!”}
1501 63 {“Q0”:“No.”}
15 63 {“Q0”:“asdfasdf”}
1480 63 {“Q0”:“No”}
1521 63 {“Q0”:“no”}
1588 63 {“Q0”:"}
1665 63 {“Q0”:"}
1616 63 {“Q0”:“very reasonable”}
1677 63 {“Q0”:“NO,thanks”}
1675 63 {“Q0”:"}
1707 63 {“Q0”:“This is a comprehensive survey that can comprehensively reflect the relative and absolute hearing. Thank you for your efforts.”}
1678 63 {“Q0”:"}
1729 63 {“Q0”:“The investigation was very detailed”}
1727 63 {“Q0”:“no”}
1706 63 {“Q0”:“Every teacher uses different methods when teaching students who are different majors. This survey would probably be more helpful and easier to answer if specify the majors of the students when asking the questions.”}
173 63 {“Q0”:"}
216 63 {“Q0”:"}
226 63 {“Q0”:“None”}
285 63 {“Q0”:“Not Applicable”}
295 63 {“Q0”:"}
303 63 {“Q0”:"}
288 63 {“Q0”:"}
291 63 {“Q0”:"}
319 63 {“Q0”:“will be curious to hear the results.”}
32 63 {“Q0”:“N/A”}
313 63 {“Q0”:“Regarding highest rank of aural skills teachers at my institution: equal split between graduate degrees in performance and theory.”}
366 63 {“Q0”:“I have a DA in theory/comp but I can understand why you didn’t include that in the list :)”}
360 63 {“Q0”:"}
371 63 {“Q0”:"}
386 63 {“Q0”:“interesting and provocative; indeed worth participating!”}
395 63 {“Q0”:“I would like to think of my responses as fluid; this is what I think today, but I might think a bit differently tomorrow. Best regards.”}
44 63 {“Q0”:“n/a”}
401 63 {“Q0”:"}
466 63 {“Q0”:"}
453 63 {“Q0”:"}
486 63 {“Q0”:“The question on my education did not provide opportunity for clarity. Not all of the systems I indicated were learned at the same institution. I learned Kodaly handsigns and La-based Minor in boychoir from the ages of 9-14. I learned scale degrees without inflections in undergrad. I learned Do-based minor and inflected scale degrees in grad school. All three instances were in the United States, the first two in Wisconsin, the third in New York.study does not ask about how much of my aural skills courses is focused on pitch perception versus other the perception of other musical attributes, that could affect how much time is spent overall on given activities.”}
511 63 {“Q0”:"}
502 63 {“Q0”:"}
545 63 {“Q0”:"}
593 63 {“Q0”:"}
598 63 {“Q0”:“I found the opening several sections a little bit confusing at times, but I suspect these questions were randomized and perhaps that’s why. ‘m also very curious to learn more about the survey takers’ opinions on absolute pitch. I’ve had absolute pitch, very well developed, for as long as I can remember, and just about everything I’ve read about it has concluded that it cannot be taught, especially to music students of university age. So much so that I thought this was the general consensus, so it was somewhat surprising to see how open this survey was about it.”}
617 63 {“Q0”:“It felt good to share my experiences here.”}
621 63 {“Q0”:"}
747 63 {“Q0”:“No”}
824 63 {“Q0”:"}
815 63 {“Q0”:“It would be nice to learn what YOU learn from this!”}
695 63 {“Q0”:“It would be helpful for you to provide your definition of relative pitch and absolute pitch, so that respondents know how to gauge answers to some of the questions. I don’t believe these labels have shared meaning between cultures/individuals.”}
769 63 {“Q0”:"}
841 63 {“Q0”:“Some of the questions are excessively focused on tonal music. Post-tonal music has aural skills even conservatories too!”}
887 63 {“Q0”:“Some really deep questions here and I think I have answered all within the confines of understanding in the general. I’d love to know how this progresses so please keep me in the loop and also let me know if I would be a useful person beyond this questionnaire.”}
830 63 {“Q0”:"}
900 63 {“Q0”:"}
896 63 {“Q0”:"}
974 63 {“Q0”:"}
989 63 {“Q0”:“As I mentioned earlier, we do not work on developing absolute pitch with our students at all - everything is geared towards relative pitch. I also align written and aural theory with the class piano curriculum, where we drill chords, analyze everything, harmonize melodies using the same conventions as theory class, and sing on moveable-do solfege. For students with perfect pitch, I tell them to write dictations in a different key, or to not write anything while they’re listening - work on the ability to memorize the melody and then write it down. This is not something I ever practiced (I have decent absolute pitch - can usually tell pitches when played on a piano, which means ear training was very easy for me) and I wish someone had told me to practice this way. Also…as a 47-year-old…my absolute pitch is slipping somewhat, which is apparently common, so practicing relative pitch exercises will help students later on in their careers.”}
954 63 {“Q0”:“I’m interested in AP and RP. I was trained with fixed do system from age 3 in Japan, I couldn’t hear function of pitch/chords until I came to USA. It was rough transition to RP when I was offered TA position at grad school. I had to hear with fixed do first, then translate to movable do. But I believe RP works best for students I teach (who do not have strong aural skills background). As a pianist, I memorized all my music with fixed do system , and I still use it when I memorize piano works. I need to stay in one lane (if I am teaching with RP, I need to shut off AP).”}
922 63 {“Q0”:“the slider didn’t work on mobile well.”}

asdf